Film & Performance Studies / Film Studies / Film History

The Long Century’s Long Shadow explores what is cinematic about the developments in literature, art, and aesthetic thinking that emerged in Germany at the beginning of the nineteenth century.

Men Out of Focus examines how and why the Soviet public came to worry openly about the state of masculinity during the 1950s and 1960s – and how a perceived crisis really stood in for broader fears.

In Confessional Cinema, Jorge Pérez analyzes how cinema engaged the shifting role of religion during the last fifteen years of Francisco Franco’s dictatorship.

Patricia Keller analyses the aesthetics of haunting and the relationship between ideology and image production by revisiting twentieth-century Spanish history through the camera’s lens.

Featuring chapters on Pontypool, Ginger Snaps, 1970s slasher films, Quebec horror, and the work of David Cronenberg, among many others, The Canadian Horror Film unearths the terrors hidden in the recesses of the Canadian psyche.

Paola Bonifazio investigates the ways in which films sponsored by Italian and American government agencies promoted a particular vision of modernization and industry and functioned as tools to govern the Italian people.

With this lucid translation of Du litteraire au filmique, André Gaudreault's highly influential and original study of film narratology is now accessible to English-language audiences for the first time.

Using Gene Youngblood's 1970 book Expanded Cinema as an anchor for the volume, Fluid Screens, Expanded Cinema understands the digital not simply as a technological form, but also as an experience of space and time that is tied to capitalism.

Arranged chronologically, Film Histories is a wide-ranging anthology that covers the history of film from 1885 to the present.

Documentaries have dominated Canada's film production and have been crucial to the formation of Canada's cinematic identity. This volume will be an indispensable companion for anyone seriously interested in Canadian film studies.

Armatage reintroduces film studies scholars to Nell Shipman, a pioneer in both Canadian and American film, and one of proportionately numerous women from Hollywood’s silent era who wrote, directed, produced, and acted in motion pictures.

Examines the formation of feature film policy in the Canadian context of the 1950s through to the present, paying special attention to the role played by producers, filmmakers and government agencies.

Gary Evans traces the development of the postwar NFB, picking up the story where he left it at the end of his earlier work, John Grierson and the National Film Board: The Politics of Wartime Propaganda.