In this thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contradictions that have restricted the usefulness of post-structuralism.

The original Movies and Methods volume (1976) captured the dynamic evolution of film theory and criticism into an important new discipline, incorporating methods from structuralism, semiotics, and feminist thought. Now there is again ferment in the field. Movies and Methods, Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context and suggest its linkages with other essays in the volume. A great variety of approaches and methods characterize film writing today, and the final part conveys their diversity—from statistical style analysis to phenomenology and from gay criticisms to neoformalism. This concluding part also shows how the rigorous use of a broad range of approaches has helped remove post-structuralist criticism from its position of dominance through most of the seventies and early eighties. The writings collected in this volume exhibit not only a strong sense of personal engagement but als a persistent awareness of the social importance of the cinema in our culture. Movies and Methods, Volume II, will prove as invaluable to the serious student of cinema as its predecessor; it will be an essential reference work for years to come.

Vols. for 1967/68-70 include: Sneaks, later issued as Film "sneaks" annual.

This volume constitutes the refereed proceedings of the 11th International Symposium on Spatial and Temporal Databases, SSTD 2009, held in Aalborg, Denmark, in July 2009. The 20 revised full papers presented together with 3 keynotes, 7 short papers, and 10 demonstration papers, were thoroughly reviewed and selected from a total of 62 research submissions and 11 demonstration submissions. The papers are organized in topical sections on spatial and flow networks, integrity and security, uncertain data and new technologies, indexing and monitoring moving objects, advanced queries, as well as on models and languages.

This edition provides a detailed look at the artistic and aesthetic principles and practices of editing for both picture and sound. It also contains up-to-date information on the influences of MTV and commercials, and new technologies.

Haidee Wasson provides a rich cultural history of cinema's transformation from a passing amusement to an enduring art form by mapping the creation of the Film Library of the Museum of Modern Art (MoMA), New York, established in 1935. The first North American film archive and museum, the film library pioneered an expansive moving image network, comprising popular, abstract, animated, American, Canadian, and European films. More than a repository, MoMA circulated these films nationally and internationally, connecting the modern art museum to universities, libraries, women's clubs, unions, archives, and department stores. Under the aegis of the museum, cinema also changed. Like books, paintings, and photographs, films became discrete objects, integral to thinking about art, history, and the politics of modern life.

The 6th International Conference on Computational and Information Sciences (ICCIS2014) will be held in NanChong, China. The 6th International Conference on Computational and Information Sciences (ICCIS2014)aims at bringing researchers in the areas of computational and information sciences to exchange new ideas and to explore new ground. The goal of the conference is to push the application of modern computing technologies to science, engineering, and information technologies.Following the success of ICCIS2004,ICCIS2010 and ICCIS2011,ICCIS2012,ICCIS2013,ICCIS2014 conference will consist of invited keynote presentations and contributed presentations of latest developments in computational and information sciences. The 2014 International Conference on Computational and Information Sciences (ICCIS 2014), now in its sixth run, has become one of the premier conferences in this dynamic and exciting field. The goal of ICCIS is to catalyze the communications among various communities in computational and information sciences. ICCIS provides a venue for the participants to share their recent research and development, to seek for collaboration resources and opportunities, and to build professional networks.

Documentary films constitute a major part of film history. Cinema's origins lie, arguably, more in non-fiction than fiction, and documentary represents the other - often submerged and barely visible - 'half' of cinema history. Historically, documentary cinema has always been an important point of reference for fiction cinema, and the two have often overlapped. Over the last two decades, documentary cinema has enjoyed a revival in critical and commercial success. 100 Documentary Films is the first book to offer concise and authoritative individual critical commentaries on some of the key documentary films - from the Lumière brothers and the beginnings of cinema through to recent films such as Bowling for Columbine and When the Levees Broke - and is global in perspective. Many different types of documentary are discussed, as well as films by major documentary directors, including Robert Flaherty, Humphrey Jennings, Jean Rouch, Dziga Vertov, Errol Morris, Nick Broomfield and Michael Moore. Each entry provides concise critical analysis, while frequent cross reference to other films featured helps to place films in their historical and aesthetic contexts. Barry Keith Grant is Professor of Film Studies and Popular Culture at Brock University, Ontario, Canada. He is the author of Film Genre: From Iconography to Ideology (2007), Voyages of Discovery: The Cinema of Frederick Wiseman (1992) and co-author, with Steve Blandford and Jim Hillier, of The Film Studies Dictionary (2001). Jim Hillier is Visiting Lecturer in Film at the University of Reading. He is the author of The New Hollywood (1993), the co-author of The Film Studies Dictionary (2001) and, with Alan Lovell, of Studies in Documentary (1972). His edited books include American Independent Cinema (2001) and two volumes of the English translation of the selected Cahiers du cinema (1985, 1986).

The rise of cinema as the predominant American entertainment around the turn of the last century coincided with the migration of African Americans to the urban 'land of hope'. Discussing early films and illuminating black urban life in this period, this text presents a look at the early relationships between African Americans and cinema.

A guide that offers a step-by-step process to data-driven qualitative multimodal discourse analysis Systematically Working with Multimodal Data is a hands-on guide that is theoretically grounded and offers a step-by-step process to clearly show how to do a data-driven qualitative Multimodal Discourse Analysis (MDA). This full-color introductory textbook is filled with helpful definitions, notes, discussion points and tasks. With illustrative research examples from YouTube, an Experimental and a Video Ethnographic Study, the text offers many examples of how to deal with small to large amounts of data, including information on how to transcribe video data multimodally, including online videos, and how to analyze the data. This textbook contains ample theory, directions for literature, and a teaching guide to help with a clear understanding of how to work with multimodal data. Contains new research data, exceptional illustrations and diagrams Offers step-by-step processes of working through examples, transcriptions and online videos Goes into great depth so that students can use the book as hands-on material to engage with their own data analysis Designed to be easy-to-use with color-coded definitions, tasks, discussion points and notes Written for advanced undergraduate, graduate and PhD level students, as well as participants in research workshops, Systematically Working with Multimodal Data is an authoritative guide to understanding data-driven qualitative Multimodal Discourse Analysis.