Transcription is ultimately about a pact we must make when we read fiction.
Split Screen Korea exemplifies a kind of necessary scholarly monograph that will never go out of style.
Nicholson wears her erudition lightly, her swift, pared prose allowing the resonances of Cruise’s career to sneak up on you.
Friendship may read to many, especially those unfamiliar with New York, as one giant inside joke without a punchline.
Rakoff acknowledges that it takes a lot to make people care.
King shrewdly connects Hodges’s torment, the stuff of formula cop movies, to larger American feelings of rootlessness and economic despair.
This is a satisfying survey of the artists who’re still actively turning the graphic novel into a new kind of literature.
Aside from expected essays on film adaptations, there are a number of pieces that roam free from these constraints.
The book is more a corroboration for the initiated than inquest for the infidels.
That multitude, with regard to films, is rather restricted to a specific kind of cinephilia, primarily an overt emphasis on Classical Hollywood.
Herbert’s strongest work comes via his explanation for the physical layout of various stores and how each utilizes the space in order to cater to a specific type of consumer.
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.
Brode structures the book into two parts, one dealing with politics, the other religion.