The Cinema of Wim Wenders, the first anthology of scholarly work on Wenders, is a unique anthropology of source materials and selected critical essays on the films of Wim Wenders, a major filmmaker in the so-called New German Cinema movement. His work, probably more than that of any other European director, reflects the tension between the European auteur tradition and the increasing dominance of the American media industry. In both his filmmaking and his critical writing, he explores how the relationship between image and narrative manifests the basic opposition between these two film traditions. This book serves as an introduction to the central concerns of his cinema while situation his work within German film history and the contemporary debates about postmodern film and media theory.

The Cinema of Wim Wenders: The Celluloid Highway is a new study of the films of this most prominent of German directors, and penetrates the seductive sounds and images for which he is best known. The book analyses the individual films in the context of a preoccupation central to all of Wenders' work and writings: why modern cinema - a recording art, solely composed of sounds and images - naturally developed into a primarily narrative medium, a domain traditionally associated with words and sentences? With its emphasis on analysing the films themselves, this book identifies and critically elucidates Wenders' chief artistic motivation: that the act of seeing can constitute a creative act in its own right.

What is education? Most of the time, we have little patience for this question because we take the answer to be obvious: we identify education with school learning. This book focuses on education outside of the school context as a basis for criticizing and improving school learning. Following the examples of Jean-Jacques Rousseau and John Dewey, Arcilla seeks to harmonize schooling with a more pervasive education we are all naturally undergoing. He develops a philosophical theory of education that stresses the experience of being led out-a theory latent in the Latin term, “educere”-by examining the road movies of Wim Wenders. This book contributes both to our understanding of another crucial kind of education our schooling could better serve, and to our appreciation of what unifies and distinguishes Wenders's achievements in cinema.

The authors trace the development of one of the most well-known directors of the New German Cinema that flourished in the 1970s and early 1980s. Examining Wim Wenders' career from his early film school productions through his mature works of the 1970s, this book also analyses the most recent works, as well as the themes and preoccupations that unite his oeuvre. As the authors note, Wenders' works have been profoundly influenced by American films, especially the 'road movie' genre. His own work often features characters who are always on the move, in an attempt to capture a glimpse of their identity and place in the world. They also represent a generation of postwar Germans seeking to redeem themselves and the history of their country by turning to American popular culture, particularly its music and movies.

A historical overview of German film from the silent era to the present, presenting close readings of 14 films from five major historical periods of German cinema. Each chapter analyzes a single film, discussing filmmakers' personal styles, genre, and modes of narration, and looks at the wider contexts of film production and reception including political issues and social change. Films include a Nazi propaganda musical, Ernst Lubitsch's Passion, and Wim Wenders' Paris, Texas. Includes film credits for each film, bandw photos, and extensive notes. Annotation copyright by Book News, Inc., Portland, OR

The American Roadside in Émigré Literature, Film, and Photography: 1955–1985 traces the origin of a postmodern iconography of mobile consumption equating roadside America with an authentic experience of the United States through the postwar road narrative, a narrative which, Elsa Court argues, has been shaped by and through white male émigré narratives of the American road, in both literature and visual culture. While stressing that these narratives are limited in their understanding of the processes of exclusion and unequal flux in experiences of modern automobility, the book works through four case studies in the American works of European-born authors Vladimir Nabokov, Robert Frank, Alfred Hitchcock, and Wim Wenders to unveil an early phenomenology of the postwar American highway, one that anticipates the works of late-twentieth-century spatial theorists Jean Baudrillard, Michel Foucault, and Marc Augé and sketches a postmodern aesthetic of western mobility and consumption that has become synonymous with contemporary America.

There are many elements in the concept of visual continuity, and they are all interrelated. In films or film series that are described as sequels, establishing a visual integrity relationship between films comes to the fore. The concept of the sequel appears in two ways. Sometimes, while the ideas are scripted, the story is divided into more than one part. Sometimes the story is planned as a single movie, and after a certain time, it can be realized as a follow-up movie/film for different reasons. In both systems of expression, it is necessary to seek harmony between all elements of visual design. Examinations and Analysis of Sequels and Serials in the Film Industry examines certain contents through the concepts of cinematography and narrative, focusing more on the practical side of cinema and partially on the theoretical side. It examines samples, sequels, serials, and trilogy universes on the axis of cinematography and narration. Covering topics such as film landscape, repeated narrative elements, and storytelling, this premier reference source is an excellent resource for film industry workers, film students and educators, sociologists, librarians, academicians, and researchers.

Considered by many film critics and scholars as a master of Japanese Cinema, director Ozu Yasujiro still inspires filmmakers both within and outside of Japan. With fifteen never before published chapters in English by contributors from North America, Europe, and Japan, Reorienting Ozu explores the Japanese director's oeuvre and his lasting impact on global art cinema. Exploring major theoretical frameworks that characterize Ozu studies, chapters consider the various cultural factors that influenced the director's cinematic output, such as the anxiety of middleclass Japan in the 1930s, the censorship imposed by the US-occupation after World War II, and women's rights in Ozu's late work such as Tokyo Twilight (1957). Ultimately, chapters illuminate Ozu's influence on the directors of Japan and beyond. With the recent restoration and re-release of Ozu's early and late films, this volume provides an opportunity to examine not only the auteur's major works but also the relationships--both cultural and aesthetic--that are forged among directors across the world.