116 Result(s)
within
Media Studies
Screen Studies
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Kenya
Before the independence of Kenya from the United Kingdom in 1963, foreign production companies used Kenya as a backdrop for films shot in the country. After becoming a republic, film production started to rise...
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Namibia
Namibia gained independence from South Africa in 1990. Before this period, little cinematic data is available. John Marshall, an American working and living in Namibia, released documentaries about the country...
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Palestine
Palestine has a relatively young cinema with a multilingual output — films are produced using Arabic, French, English, and Hebrew. In the early days of the industry, work was focused primarily in the documenta...
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Armenia
After Armenia was incorporated into the Soviet Union in 1922, the centralized government formed the Armenian Film Foundation in 1923. With the establishment of Armenfilm (Hayfilm) studios in the same year, Arm...
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A Brief History of Film ‘Filesharing’: From Napster to Mega
Before launching into a history of ‘filesharing’, this chapter will take issue with the terminology used within its own heading while acknowledging that, despite the problematic association with the term ‘file...
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Reframing Parody and Intertextuality in Scream: Formal and Theoretical Approaches to the ‘Postmodern’ Slasher
As a pivotal slasher film of the 1990s, Scream (1996; dir Wes Craven) is distinctive from earlier productions of the genre in its multiple allusions to other films and art forms that had preceded it. Its uniquene...
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Undermining the Moneygrubbers, or: How I Learned to Stop Worrying and Love Friday the 13 th Part V
I have written elsewhere about film form and aesthetics in the Friday the 13 th film series and even about the particular strengths of this specific entry in the series; however, t...
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Finland
The history of film in Finland began at the same time as modern motion picture technology was invented. The Lumière brothers screened the first moving images in Helsinki in 1896. However, it was a decade befor...
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The Slasher, the Final Girl and the Anti-Denouement
Wes Craven’s 1994 film Wes Craven’s New Nightmare presents a Bettelheimian thesis about why children desire to keep hearing horrible fairy tales. Telling the stories staves off their realization. A fantasy of anx...
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Introduction
In this study of female screenwriters, from the first film scenarios produced in 1896 to the present day, we highlight the work of more than 300 writers from over 50 nations. Each entry gives an overview of th...
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Candyman and Saw: Reimagining the Slasher Film through Urban Gothic
Describing Gothic literature as a ‘writing of excess’ (1996, 1), Fred Botting argues that the genre has historically been replete with ‘gloomy and mysterious’ atmospheres, stock supernatural features and desol...
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Malta
At the end of the nineteenth century, while Edison, Lumière and Méliès were experimenting with early film (Dixon and Foster 2008), Malta was still a British colony, only gaining independence in 1964 (Chircop 2...
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Egypt
Ali Badrakhan, a prominent Egyptian ‘new wave’ director active from the 1970s until the present day, is reported to have said that ‘Egyptian cinema was shouldered by women, namely Aziza Amir, Fatma Rushdy and ...
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Roses Are Red, Violence Is Too: Exploring Stylistic Excess in Valentine
Following the unprecedented success of Scream (dir Wes Craven) in 1996, the next few years saw a resurgence of horror films, primarily in the same postmodern slasher style as their progenitor. This neo-slasher cy...
