During the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don't Cry, and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been thoroughly transformed through its incorporation within forms of technical media.

"During the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don't Cry , and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been thoroughly transformed through its incorporation within forms of technical media."--

In this expansive historical synthesis, Richard Butsch integrates social, economic, and political history to offer a comprehensive and cohesive examination of screen media and screen culture globally – from film and television to computers and smart phones – as they have evolved through the twentieth and twenty-first centuries. Drawing on an enormous trove of research on the USA, Britain, France, Egypt, West Africa, India, China, and other nations, Butsch tells the stories of how media have developed in these nations and what global forces linked them. He assesses the global ebb and flow of media hegemony and the cultural differences in audiences' use of media. Comparisons across time and space reveal two linked developments: the rise and fall of American cultural hegemony, and the consistency among audiences from different countries in the way they incorporate screen entertainments into their own cultures. Screen Culture offers a masterful, integrated global history that invites media scholars to see this landscape in a new light. Deeply engaging, the book is also suitable for students and interested general readers.

In One Shot Hitchcock, some of the best writers and thinkers in film studies have taken up the challenge of writing about a single shot from an Alfred Hitchcock film. Fifteen of Hitchcock's most engaging, horrifying, beautiful, sexual, and bizarre shots are interrogated and loved. Single shots are looked at from multiple angles, considering its importance for the film in question, and for other ways we can think about the cinema. This book is not only for people who enjoy watching and discussing Hitchcock's films, but for those who wish to discover new ways of writing about the films they love.

Ephemeral Media explores the practices, strategies and textual forms helping producers negotiate a fast-paced mediascape. Examining dynamics of brevity and evanescence in the television and new media environment, this book provides a new perspective on the transitory, and transitional, nature of screen culture in the early twenty-first century.

Provides the first critical overview of acting, stardom, and performance in post-war Italian film (1945-54), with special attention to the figure of the non-professional actor, who looms large in neorealist filmmaking. Italian post-war cinema has been widely celebrated by critics and scholars: films such as Bicycle Thieves (De Sica, 1948) and Paisan (Rossellini, 1946) remain globally influential, particularly for their use of non-professional actors. This period of regeneration of Italian cinema initiated the boom in cinemagoing that made cinema an important vector of national and gender identity for audiences. The book addresses the casting, performance, and labour of non-professional actors, particularly children, their cultural and economic value to cinema, and how their use brought ideas of the ordinary into the discourse of stars as extraordinary. Relatedly, O'Rawe discusses critical and press discourses around acting, performance, and stardom, often focused on the 'crisis' of acting connected to the rise of non-professionals and the girls (like Sophia Loren) who found sudden cinematic fame via beauty contests.

Screen Culture: History and Textuality explores the impact of digital culture on the discipline of film and television studies. Whether the notion of screen culture is used to designate the technological platforms common to present-day digital media, or whether it refers to the support material on which moving images have historically been projected, scanned, or displayed, the 15 previously unpublished essays included here are primarily concerned with the intermedial appraisal of film, television, and digital culture. Contributors are Richard Abel, William Boddy, Ben Brewster, John Fullerton, Douglas Gomery, Alison Griffiths, Vreni Hockenjos, Jan Holmberg, Arne Lunde, Peter Lunenfeld, Charles Musser, Jan Olsson, Barry Salt, Michele L. Torre, William Uricchio, and Malin Wahlberg. Stockholm Studies in Cinema series Distributed for John Libbey Publishing