Titlebook: Valuing Films; Shifting Perceptions Laura Hubner (Senior Lecturer in Film and Media St Book 2011 Palgrave Macmillan, a division of Macmilla

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Delivering the Quality Experience: Franco ZeffirelliVisconti’s neorealist film, .. Rosi has made fewer films than Zeffirelli, but attained the status of . and a grand celebration of his 80th birthday by the Italian President. Zeffirelli became Visconti’s lover and, like him, has been an acclaimed theatre/opera director and designer as well as filmmak

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A Taste for Flesh and Blood? Shifting Classifications of Contemporary European Cinemaa in newspaper, magazine and online reviews. It analyses classifications of the films in relation to changing perceptions of quality and considers how these perceptions correspond to implicit and explicit value judgements made concerning taste, pleasure and ethical morality. Underlying these conside

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Sense and Sensibilities: The Value of Coherence in the Contemporary Twist Filmthe defining order of their fictional worlds expressly for the dramatic impact of the storytelling volte-face. Thus, the extent to which coherence is achieved within this narrative structure becomes a potential measure of the twist film’s value, concurrently shaping our sense of its aesthetic achievement.

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Getting Animated — Valuing Animest Anglia, Warwick and Winchester), a textual study of Hayao Miyazaki’s films, and Susan Napier’s (2007) understanding of how Japanese animation and its fandom correlate to previous cultural exchanges between the West and Japan.

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‘The Many Ways of Looking at Cinema’: , and the Value of Film the present volume, we must also consider how our collective scholarship moves the discussion about the value of film forward. But James also explicitly raises the question, most pertinent to him, of what . role is today — the very rationale for his article, and indeed for this chapter.

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Audience Appreciation of Nigerian Films (Nollywood)se a film and not another? How important is the context of viewing — where and with whom does viewing occur? How are films read (contrary to what texts appear to be saying)? These questions help identify the real value of films.

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Valuing Film Violence: Student Perceptions on the Inclusion of Violent Films and Film Violence withihe academic year 2007–8. While this is a small-scale empirical project conducted in the UK, it is suggested that its findings constitute a starting point for the broader consideration of the value of including potentially challenging texts within Higher Education (HE) curricula.

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erpin social, academic and institutional practices, it examines the diverse forms of worth attributed to a range of international films in relation to taste, passion, morality and aesthetics.978-1-349-31104-0978-0-230-30585-4