In a historical moment when cinema is definitively abandoning analogue production, the cinematographic work of Paolo Gioli occupies an important and meaningful place in the academic and artistic debate related to the present and future position of cinema and media art in the digital era. For this reason, the Film Forum Festival decided to organize a one-day seminar in Gorizia on 17th March 2013 in order to analyze and discuss the artistic production of this Italian artist. This book records and expands topics and reflections developed by international scholars and curators during that event and contains an original text by Paolo Gioli about his cinema and his artistic production.

The digital age has witnessed the development of a new kind of archive: immaterial, “living and moving,” largely user-generated, and conceived for managing a wide variety of audio-visual materials, besides traditional films and videos. The first part of this anthology investigates the ways in which media forms like web-documentaries, video art and digital art, web series, amateur productions, and also mobile films can be stored and preserved within the new digital repositories. The second part focuses on archival and preservation practices of the video game. This approach understands the archive not simply as a “memory box,” but as a fully contemporary practice that locates new media objects in the present and acknowledges their changing cultural and social configurations. The democratic, often immaterial, living, mobile nature of contemporary archives forces us to question whether or not the traditional notion of “the archive” still has a heuristic value. Or if it would be perhaps better to reject any “conventional” idea of archive and embrace the notion of anarchive.

With the rapid development of computer science and the expanding use of computers in all facets of American life, there has been made available a wide range of instructional and informational films on automation, data processing, and computer science. Here is the first annotated bibliography of these and related films, gathered from industrial, institutional, and other sources.This bibliography annotates 244 films, alphabetically arranged by title, with a detailed subject index. Information is also provided concerning the intended audience, rental-purchase data, ordering procedures, and such specifications as running time and film size.

American auteur Jeffrey Jacob "J. J." Abrams's genius for creating densely plotted scripts has won him broad commercial and critical success in TV shows such as Felicity (1998--2002), Emmy-nominated Alias (2001--2006), Emmy and Golden Globe-winning Lost (2004--2010), and the critically acclaimed Fringe (2008--2013). In addition, his direction in films such as Cloverfield (2008), Super 8 (2011), and the new Mission Impossible and Star Trek films has left fans eagerly awaiting his revival of the Star Wars franchise. As a writer, director, producer, and composer, Abrams seamlessly combines geek appeal with blockbuster intuition, leaving a distinctive stamp on all of his work and establishing him as one of Tinsel Town's most influential visionaries.In The Philosophy of

Director and producer Tim Burton impresses audiences with stunning visuals, sinister fantasy worlds, and characters whose personalities are strange and yet familiar. Drawing inspiration from sources as varied as Lewis Carroll, Salvador Dalí, Washington Irving, and Dr. Seuss, Burton's creations frequently elicit both alarm and wonder. Whether crafting an offbeat animated feature, a box-office hit, a collection of short fiction, or an art exhibition, Burton pushes the envelope, and he has emerged as a powerful force in contemporary popular culture.In The Philosophy of Tim Burton, a distinguished group of scholars examines the philosophical underpinnings and significance of the director's oeuvre, investigating films such as Batman (1989), Edward Scissorhands (1990), The Nightmare before Christmas (1993), Sleepy Hollow (1999), Big Fish (2003), Sweeney Todd (2007), Alice in Wonderland (2010), and Dark Shadows (2012). The essays in this volume explore Burton's distinctive style, often disturbing content, and popular appeal through three thematic lenses: identity, views on authority, and aesthetic vision.Covering topics ranging from Burton's fascination with Victorian ideals, to his celebration of childhood, to his personal expression of the fantastic, the contributors highlight the filmmaker's peculiar narrative style and his use of unreal settings to prompt heightened awareness of the world we inhabit. The Philosophy of Tim Burton offers a penetrating and provocative look at one of Hollywood's most influential auteurs.

Pola Negri (1897--1987) rose from an impoverished childhood in Warsaw, Poland, to become one of early Hollywood's greatest stars. After tuberculosis ended her career as a ballerina in 1912, she turned to acting and worked under legendary directors Max Reinhardt and Ernst Lubitsch in Germany. Negri preceded Lubitsch to Hollywood, where she quickly became a fan favorite thanks to her beauty, talent, and diva personality. Known for her alluring sexuality and biting artistic edge, she starred in more than sixty films and defined the image of the cinematic femme fatale.Author Mariusz Kotowski brings the screen siren's story to English-speaking audiences for the first time in this fascinating biography. At the height of her fame, Negri often portrayed exotic and mysterious temptresses, headlining in such successes as The Spanish Dancer (1923) and Forbidden Paradise (1924), before returning to Europe in the 1930s. The devastating effects of World War II soon drove her back to the United States, where she starred in Hi Diddle Diddle (1943) and pursued her vaudeville career before retiring from the entertainment industry.Kotowski also illuminates Negri's dramatic personal life, detailing her numerous love affairs -- including her engagement to Charlie Chaplin and her romance with Rudolph Valentino -- as well as her multiple marriages. This long-overdue biography not only paints a detailed portrait of one classic Hollywood's most intriguing stars and the film industry's original Jezebel, but also explores the link between Hollywood and European cinema during the interwar years.

Known for restoring vitality and superior craftsmanship to the crime thriller, American filmmaker Michael Mann has long been regarded as a talented triple threat capable of moving effortlessly between television and feature films as a writer, director, and executive producer. His unique visual sense and thematic approach are evident in the Emmy Award-winning The Jericho Mile (1979), the cult favorite The Keep (1983), the American epic The Last of the Mohicans (1992), and the Academy Award-nominated The Insider (1999) as well as his most recent works -- Ali (2001), Miami Vice (2006), and Public Enemies (2009).The Philosophy of Michael Mann provides an up-to-date and comprehensive account of the work of this highly accomplished filmmaker, exploring the director's recognizable visual style and the various on-screen and philosophical elements he has tested in his thirty-five-year career. The essays in this wide-ranging book will appeal to fans of the revolutionary filmmaker and to philosophical scholars interested in the themes and conflicts that drive his movies.

Famous for his masculine swagger and gritty roles, American cultural icon Clint Eastwood has virtually defined the archetype of the tough lawman. Beginning with his first on-screen appearance in the television series Rawhide (1959--1965) and solidified by his portrayal of the "Man with No Name" in Sergio Leone's "Dollars" trilogy (1964--1966), he rocketed to stardom and soon became one of the most recognizable actors in Hollywood. The Philosophy of Clint Eastwood examines the philosophy and psychology behind this versatile and controversial figure, exploring his roles as actor, musician, and director. Led by editors Richard T. McClelland and Brian B. Clayton, the contributors to this timely volume discuss a variety of topics. They explore Eastwood's arresting critique and revision of the traditional western in films such as Unforgiven (1992), as well as his attitudes toward violence and the associated concept of masculinity from the Dirty Harry movies (starting in 1971) to Gran Torino (2008). The essays also chart a shift in Eastwood's thinking about the value of so-called rugged individualism, an element of many of his early films, already questioned in Play Misty for Me (1971) and decisively rejected in Million Dollar Baby (2004).Clint Eastwood has proven to be a dynamic actor, a perceptive and daring director, as well as an intriguing public figure. Examining subjects such as the role of civil morality and community in his work, his use of themes of self-reliance and religious awareness, and his cinematic sensibility, The Philosophy of Clint Eastwood will provide readers with a deeper sense of Eastwood as an artist and illuminate the philosophical conflicts and resolutions that drive his films.

"I read Hawks on Hawks with passion. I am very happy that this book exists." -- François TruffautHoward Hawks (1896--1977) is often credited as being the most versatile of all of the great American directors, having worked with equal ease in screwball comedies, westerns, gangster movies, musicals, and adventure films. He directed an impressive number of Hollywood's greatest stars -- including Humphrey Bogart, Cary Grant, John Wayne, Lauren Bacall, Rosalind Russell, and Marilyn Monroe -- and some of his most celebrated films include Scarface (1932), Bringing Up Baby (1938), The Big Sleep (1946), Red River (1948), Gentlemen Prefer Blondes (1953), and Rio Bravo (1959).Hawks on Hawks draws on interviews that author Joseph McBride conducted with the director over the course of seven years, giving rare insight into Hawks's artistic philosophy, his relationships with the stars, and his position in an industry that was rapidly changing. In its new edition, this classic book is both an account of the film legend's life and work and a guidebook on how to make movies.

Possessing a unique beauty and refined acting skills, Ann Dvorak (1911--1979) found success in Hollywood at a time when many actors were still struggling to adapt to the era of talkies. Seemingly destined for A-list fame, critics touted her as "Hollywood's New Cinderella" after film mogul Howard Hughes cast her as Cesca in the gangster film Scarface (1932). Dvorak's journey to superstardom was derailed when she walked out on her contractual obligations to Warner Bros. for an extended honeymoon. Later, she initiated a legal dispute over her contract, an action that was unprecedented at a time when studios exercised complete control over actors' careers.As the first full-length biography of an often-overlooked actress, Ann Dvorak: Hollywood's Forgotten Rebel explores the life and career of one of the first individuals who dared to challenge the studio system that ruled Tinseltown. The actress reached her pinnacle during the early 1930s, when the film industry was relatively uncensored and free to produce movies with more daring storylines. She played several female leads in films including The Strange Love of Molly Louvain (1932), Three on a Match (1932), and Heat Lightning (1934), but after her walk-out, Warner Bros retaliated by casting her in less significant roles.Following the casting conflicts and illness, Dvorak filed a lawsuit against the Warner Bros. studio, setting a precedent for other stars who eventually rebelled against the established Hollywood system. In this insightful memoir, Christina Rice explores the spirited rebellion of a talented actress whose promising career fell victim to the studio empire.

Film stocks are vanishing, but the iconic images of the silver screen remain -- albeit in new, sleeker formats. Today, viewers can instantly stream movies on televisions, computers, and smartphones. Gone are the days when films could only be seen in theaters or rented at video stores: movies are now accessible at the click of a button, and there are no reels, tapes, or discs to store. Any film or show worth keeping may be collected in the virtual cloud and accessed at will through services like Netflix, Hulu, and Amazon Instant.The movies have changed, and we are changing with them. The ways we communicate, receive information, travel, and socialize have all been revolutionized. In Streaming, Wheeler Winston Dixon reveals the positive and negative consequences of the transition to digital formatting and distribution, exploring the ways in which digital cinema has altered contemporary filmmaking and our culture. Many industry professionals and audience members feel that the new format fundamentally alters the art, while others laud the liberation of the moving image from the "imperfect" medium of film, asserting that it is both inevitable and desirable. Dixon argues that the change is neither good nor bad; it's simply a fact.Hollywood has embraced digital production and distribution because it is easier, faster, and cheaper, but the displacement of older technology will not come without controversy. This groundbreaking book illuminates the challenges of preserving media in the digital age and explores what stands to be lost, from the rich hues of traditional film stocks to the classic movies that are not profitable enough to offer in streaming formats. Dixon also investigates the financial challenges of the new distribution model, the incorporation of new content such as webisodes, and the issue of ownership in an age when companies have the power to pull purchased items from consumer devices at their own discretion. Streaming touches on every aspect of the shift to digital production and distribution. It explains not only how the new technology is affecting movies, music, books, and games, but also how instant access is permanently changing the habits of viewers and influencing our culture.

A Choice Outstanding Academic TitleFlourishing in the United States during the 1940s and 50s, the bleak, violent genre of filmmaking known as film noir reflected the attitudes of writers and auteur directors influenced by the events of the turbulent mid-twentieth century. Films such as Force of Evil, Night and the City, Double Indemnity, Laura, The Big Heat, The Killers, Kiss Me Deadly and, more recently, Chinatown and The Grifters are indelibly American. Yet the sources of this genre were found in Germany and France and imported to Hollywood by emigré filmmakers, who developed them and allowed a vibrant genre to flourish. Andrew Dickos's Street with No Name traces the film noir genre back to its roots in German Expressionist cinema and the French cinema of the interwar years. Dickos describes the development of the film noir in America from 1941 through the 1970s and examines how this development expresses a modern cinema. Dickos examines notable directors such as Orson Welles, Fritz Lang, John Huston, Nicholas Ray, Robert Aldrich, Samuel Fuller, Otto Preminger, Robert Siodmak, Abraham Polonsky, Jules Dassin, Anthony Mann and others. He also charts the genre's influence on such celebrated postwar French filmmakers as Jean-Pierre Melville, François Truffaut, and Jean-Luc Godard. Addressing the aesthetic, cultural, political, and social concerns depicted in the genre, Street with No Name demonstrates how the film noir generates a highly expressive, raw, and violent mood as it exposes the ambiguities of modern postwar society.

The film industry and mainstream popular culture are notorious for promoting stereotypical images of Native Americans: the noble and ignoble savage, the pronoun-challenged sidekick, the ruthless warrior, the female drudge, the princess, the sexualized maiden, the drunk, and others. Over the years, Indigenous filmmakers have both challenged these representations and moved past them, offering their own distinct forms of cinematic expression.Native Americans on Film draws inspiration from the Indigenous film movement, bringing filmmakers into an intertextual conversation with academics from a variety of disciplines. The resulting dialogue opens a myriad of possibilities for engaging students with ongoing debates: What is Indigenous film? Who is an Indigenous filmmaker? What are Native filmmakers saying about Indigenous film and their own work? This thought-provoking text offers theoretical approaches to understanding Native cinema, includes pedagogical strategies for teaching particular films, and validates the different voices, approaches, and worldviews that emerge across the movement.

Mae Murray (1885--1965), popularly known as "the girl with the bee-stung lips," was a fiery presence in silent-era Hollywood. Renowned for her classic beauty and charismatic presence, she rocketed to stardom as a dancer in the Ziegfeld Follies, moving across the country to star in her first film, To Have and to Hold, in 1916. An instant hit with audiences, Murray soon became one of the most famous names in Tinseltown. However, Murray's moment in the spotlight was fleeting. The introduction of talkies, a string of failed marriages, a serious career blunder, and a number of bitter legal battles left the former star in a state of poverty and mental instability that she would never overcome.In this intriguing biography, Michael G. Ankerich traces Murray's career from the footlights of Broadway to the klieg lights of Hollywood, recounting her impressive body of work on the stage and screen and charting her rapid ascent to fame and decline into obscurity. Featuring exclusive interviews with Murray's only son, Daniel, and with actor George Hamilton, whom the actress closely befriended at the end of her life, Ankerich restores this important figure in early film to the limelight.

Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980), and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick Süskind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen.The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.

In 2009, Avatar, a 3-D movie directed by James Cameron, became the most successful motion picture of all time, a technological breakthrough that has grossed more than $2.5 billion worldwide. Its seamless computer-generated imagery and live action stereo photography effectively defined the importance of 3-D to the future of cinema, as well as all other currently evolving digital displays. Though stereoscopic cinema began in the early nineteenth century and exploded in the 1950s in Hollywood, its present status as an enduring genre was confirmed by Avatar's success.3-D Revolution: The History of Modern Stereoscopic Cinema traces the rise of modern 3-D technology from Arch Oboler's Bwana Devil (1952), which launched the 50s 3-D boom in Hollywood, to the rapidly-modernizing 3-D industry today. Ray Zone takes a comprehensive approach that not only examines the technology of the films, but also investigates the business, culture, and art of their production. Influencing new generations of filmmakers for decades, the evolution of 3-D cinema technology continues to fill our theaters with summer blockbusters and holiday megahits.