The book offers an in-depth analysis of Terence Davies' films, highlighting his significant influence on contemporary cinema. It presents a detailed exploration of his work, showcasing its excitement and readability, making it an essential resource for understanding his contributions to the film industry.
Colour is one of the few remaining uncharted territories of film studies, and its centrality to the construction and reception of film narratives has only recently been recognised. After a century of widespread critical and theoretical neglect, colour is now poised to become a prime focus within film studies at all levels, and this book will constitute a key voice within this debate. In a series of wide-ranging critical essays, marked by authoritative and innovative perspectives, the volume explores the shifting technologies, theories, and practices of colour in cinema, highlighting the intricate relationship between technological, philosophical, and artistic concerns, and making a compelling case for colour as a dominant and complex signifier in filmic discourse. The essays are divided into three main sections exploring the historical and technical dimensions of colour, the aesthetics of colour, and the significance of colour in relation to broader issues of race, gender, and identity, and are interdisciplinary and transnational in their focus. They provide the reader with a clear understanding of the significance of colour, exploring new pathways and identifying discoveries still to be made.
The role of space and place in the creation of visual narratives constitutes one of the most dynamic and exciting debates in contemporary film studies. How does film construct space? What are the spatial codes and strategies that it uses? What is the relationship between space and time in film? How do spatial constructs enable us to understand new concepts of identity and the politics and geographies of exile and displacement? Such questions, whose importance to contemporary film and culture is fundamental, are explored in wide-ranging, challenging essays that re-evaluate and extend recent theoretical debate in relation to the regional and national cinemas of Europe. Alongside critical essays by scholars of international repute the book contains original contributions by practising film directors. Characterised by its interdisciplinary, cross-national focus, it is thematically structured to provide an insight into smaller and less well-explored cinemas as well as those of Britain, France, Germany, Italy, Russia and Spain. Authoritative, lively, and jargon-free, these essays provide the reader with a clear understanding of the significance of space and place, and a fresh perspective on the fascinating diversity of European cinema.