One gets the sense that Lee’s work is being used here as an explicative tool for theoretical engagement and not the other way around.
A book insufficiently framed by either strong historical or theoretical parameters is bound to flounder quickly and Davis’s work is no exception.
Gemünden’s extensive definition of “exile” draws on the likes of theorists Theodor Adorno, Edward Said, and Salman Rushdie.
Noah Isenberg embraces the biographic over the critical dimensions entailed in his chosen methodological approach.
The book is an exciting new addition to the canon of critical race studies.
In order to comprehend Godard’s cinema, Witt claims, it’s first necessary to understand precisely how Godard defines the cinema.
While many academic monographs take a single director, time period, or genre as their field for analysis, Andrews is juggling at least half a dozen at once.
Fisher’s smart questions elicit both useful and humorous responses from Petzold throughout.
Several major university presses such as Duke, Texas, California, and Indiana continue to set the benchmark for scholarly film studies.
The international box office came to the rescue for numerous films and franchises, often counting for nearly three quarters of their worldwide gross.
Confession: I don’t like The Lord of the Rings films. All of them.
Without question, Bale remains one of Hollywood’s most versatile and risk-taking leading men.
Disney continues to produce and use the same kind of fantasy marketing template to attract kids of all ages.
Aside from the ethics of 3D, it’s undeniable that Catching Fire will be at an economic disadvantage without it, losing as much as $4 per ticket in some cases.
Brode structures the book into two parts, one dealing with politics, the other religion.
The departure of a new Martin Scorsese/Leonardo DiCaprio vehicle surely meant another equally high-profile or even several smaller-profile releases would be flocking to the date.
Perhaps the weakest points of the biography are McGilligan’s basic treatment of the films proper.
Anchored by its attachment to The Avengers, this new film’s artistic aspirations become irrelevant to domestic reception, since the massive global opening ensures its event status.
The D or F CinemaScore can indicate something potentially subversive about the material, whether intentional or not.
The entirety of the marketing for The Counselor suffers from what I’m calling “prestige-film fallacy.”