How do filmmakers guide viewer attention through the frame using the movement of bodies on screen? What do they seek to communicate with their cinematic choreography, and how were those choices shaped by the industrial conditions available to them? Storytelling in motion: Cinematic Choreography and the Film Musical demonstrates how figure movement can serve as a versatile strategy of meaning-making, particularly when filmmakers attend to the relationship between choreographed movement and film style. Using Franco-American film musicals as case studies, this book analyses the narrative and stylistic impact of figure movement in cinema and the subtle power of cinematic choreography, those moments when filmmakers deliberately combine the strengths of film style and organized figure movement to convey narrative meaning through motion. Cinematic choreography emphasizes musical conventions in Singin' in the Rain (Stanley Donen and Gene Kelly, 1952), prejudiced conflict in West Side Story (Je
Paris, 1599. At the end of the French Wars of Religion, the widow Ren?c)e Chevalier instigated the prosecution of the military captain Mathurin Delacanche, who had committed multiple acts of rape, homicide, and theft against the villagers who lived around her ch漮eau near the cathedral city of Sens. But how could Chevalier win her case when King Henri IV's Edict of Nantes ordered that the recent troubles should be forgotten as 'things that had never been'? A Widow's Vengeance after the Wars of Religion is an original and wide-ranging account of the impact of the religious wars on daily life. Based on neglected archival sources and an exceptional criminal trial, it recovers the experiences of women, peasants, and foot soldiers, who are marginalized in most historical accounts. Tom Hamilton shows how this trial contributed to a wider struggle for justice and an end to violence in postwar France. People throughout the society of the Old Regime did not consider rape and pillage as inevitabl
Often described as an art of abstraction and subjective introspection, experimental film is also invested in exploring daily objects and materials and in channeling, in the process, a peculiar perception of the modern everyday that this book calls queer materiality. Queer materiality designates the queer latency of modern material culture, which often inspired queer artists and filmmakers to envision wayward bodies and behaviors, and refers to the way in which sexual and social dissidence was embedded in the objects, technologies, substances, and spaces that make up the hardware of experience. This book studies a rich archive of queer material engagements in work by well-known filmmakers such as Andy Warhol, Barbara Hammer, Carolee Schneemann, and Jack Smith as well as under-recognized figures such as Tom Chomont, Jim Hubbard, Ashley Hans Scheirl, and Teo Hern嫕dez. Combining history, formal analysis, and theoretical reflection, author Juan A. Su嫫ez shows how plastics, glitter, mechanic
