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Edited by Gilles Menegaldo, Mélanie Boissonneau and Anne-Marie Paquet-Deyris

Twenty years after Universal horror movies, the Hammer studio brought back to life the great mythical figures inspired from British literature as well as French and European folklore (Dracula, Frankenstein, the Werewolf, the Phantom of the Opera, etc.). It invented new incarnations rooted in a precise historical context and revisited according to the evolution of British society. This independent studio constitutes a notable stage in the history of the genre between the Gothic horror of the 1930s and the more radical productions of the 1970s, which eventually contributed to its demise. Focusing on the peculiar balance between Hammer’s inventiveness and classicism, this volume mainly explores the lesser-known productions, examining as well its contradictions, paradoxes and limitations.

The book raises the question of the paradoxical modernity of films that are innovative in various respects (themes, modes of representation challenging censorship, aesthetics), but are also trying to resurrect a dying tradition, mostly offering a rather surprisingly conservative discourse despite their efforts to comply with the expectations of new audiences. The films born from the recent Hammer renaissance are still referring to this bygone Golden Age of the horror film. One may wonder whether the Hammer studio was a mere factory churning out mostly conventional horror films now buried in the dust of a gothic dungeon, or a true laboratory of modern cinematic horror whose past glory still inspires contemporary filmmakers. This volume will provide some answers and raise quite a few questions.

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Xiaokun Wang and Wenjing Zhang

As the most important ancient cultural relics in prehistory, rock painting has become a direct basis for the reproduction of human history and ideological process. Since the late 1970s, Yinshan rock paintings have been found in large quantities. In this study of Yinshan Rock Paintings, 2842 rock paintings, which can be used as research materials in the Yinshan area, are collected, sorted and classified systematically and the distribution characteristics of rock paintings in each area and the distribution and change rules of main rock painting types are summarized, and the staged study and age exploration are attempted. At the same time, this book places Yinshan Rock Paintings into the overall framework of Chinese rock paintings for analysis, so that we can have a more comprehensive understanding of the overall characteristics and status of Yinshan Rock Paintings, and on this basis, preliminarily establish the basic framework of Yinshan Rock Painting type distribution and chronological sequence.

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Cinematic Thoughts

Essays on Film and the Philosophy of Film

Gary James Jason

Cinematic Thoughts: Essays on Film and the Philosophy of Film is an anthology of essays Gary Jason published (mainly) between 2012 and 2018. The book has seven parts. Part One consists of essays on propaganda films. The topics include how the Nazi Regime used film as a tool of propaganda, and its use of radio for propaganda. Part Two contains articles on genocide and film. These include two broad surveys of Holocaust documentaries, ranging from those that were done at the end of WWII to Claude Lanzmann’s work. Also included are pieces reviewing the five major propaganda films the Nazi Regime produced aimed at arousing anti-Semitism in the populace leading up to the Holocaust. Part Three of the anthology concerns ethical theory as explored in film. Included here are three essays surveying how egoism is portrayed in classic movies, as well as one showing how Rossian ethical theory can be used to analyze conflicts of loyalty in classic war movies, and pieces illustrating virtue ethics. Part Four includes various articles on the history of cinema. One of the topics raised was whether the American film industry produced better films under the old, allegedly "monopolistic" studio system. Part Five of the anthology contains articles on the aesthetics of film. The topics here include how creativity can be portrayed in film, and why some great actors never win Oscars. Part Six contains pieces on classical liberalism in film, and Part Seven has miscellaneous articles on topics ranging from artists to criminals.