Recensões de Livros

As recensões de livros não são arbitradas cientificamente. No entanto, são analisadas pelo conselho editorial e pela editora da secção, Maria Irene Aparício. Informações sobre o acesso aos livros disponíveis poderão ser solicitadas através do e-mail cinema.book.editor@gmail.com.

Os editores e autores interessados em disponibilizar as suas obras para recensão podem enviar os exemplares para:

Professor Maria Irene Aparício / Cinema Book Editor
Faculdade de Ciências Sociais e Humanas da UNL,
Departamento de Ciências da Comunicação
Avenida de Berna, 26, 5º Piso, Torre B, Gabinete B504

 1069-061 LISBOA - PORTUGAL

 

Prolongamento da data limite para recepção de textos Número 14: 30 de Junho de 2022

Alguns títulos propostos para recensão:

A Critical Companion to Stanley Kubrick Edited by Elsa Colombani (London: Lexington Books, 2020, 284 pp).
(Cópia disponível)

Animated the Spirited. Journeys and Transformations Edited by Tze-yue G. Hu, Masao Yokota and Gyongyi Horvath (University Press of Mississippi, 2020).
(Cópia disponível)

The Cinema of the Precariat Edited by Tom Zaniello (New York and London: Bloomsbury Academic, 2020).
(Entregue para recensão)

The Encyclopedia of Sexism in American Films Edited by Salvador Jimenez Murguía. Erica Joan Dymond and Kristina Fennelly (New York and London: Rowman & Littlefield, 2020).
(Entregue para recensão)

On Women`s Films Across Worlds and Generations Edited by Ivone Margulies and Jeremi Szaniawski (New York and London: Bloomsbury Academic, 2019, 397 pp.).
(Cópia disponível)

Classical Myth in Alfred Hitchcock`s Wrong Man and Grace Kelly Films by Mark William Padilla (London: Lexington Books, 2019, 371 pp.)
(entregue para recensão)

A Critical Companion to James Cameron Edited by Adam Barkman and Antonio Sanna (Lanham, Boulder, New York, London: Lexington Books, 2019, 220 pp.)
(Cópia disponível)

Pier Paolo Pasolini Framed and Unframed. A Thinker for the Twenty-First Century Edited by Luca Peretti and Karen T. Raizen (London and New York: Bloomsbury Academic, 2019, 273 pp.)
(Entregue para recensão)

Global Animation Theory. International Perspectives at Aniamfest Zagreb Edited by Franziska Bruckner, Nikica Gilic, Holger Lang, Daniel Suljic and Hrvoje Turkovic (New York and New York: Bloomsbury Academic, 2019, 265 pp.)
(entregue para recensão)

Cinema / Politics / Philosophy by Nico Baumbach (New York: Columbia University Press, 2019, 232 pp.)
(entregue para recensão)

Foucault at the Movies by Michel Foucault, Patrice Maniglier and Dork Zabunyan (Translated and edited by Clare O`Farrell), (New York: Columbia University Press, 2011 [2018], 243 pp.)
(entregue para recensão)

The Films of Lenny Abrahamson. A Filmmaking of Philosophy by Barry Monahan (New York and London: Bloomsbury Academic, 2018, 234 pp.)
(Cópia disponível)

Re-Viewing the Past. The Uses of History in the Cinema of Imperial Japan by Sean D. O`Reilly (New York and London: Bloomsbury Academic, 2018, 308 pp.)
(Cópia disponível)

Sensuous Cinema. The Body in Contemporary Maghrebi Film by Kaya Dvies Hayon (New York and London: Bloomsbury Academic, 2018, 181 pp.)
(Cópia disponível)

Lars von Trier`s Renewal of Film 1984-2014 by Bodil Marie Stavning Thomsen (Aarhus: Aarhus University Press | Oxbow Books Ltd, 2018, 363 pp.)
(cópia disponível)

Plotinus and the Moving Image Edited by Thorsten Botz-Borns and teinGiannis Stamatellos (Leiden and Boston: Brill Rodopi, 2017, 264 pp.)
(entregue para recensão)

Contemporary Women`s Cinema, Global Scenarios and Transnational Contexts Edited by Veronica Pravadelli (Milan: Mimesis International, 2017, 281 pp).
(entregue para recensão)

Dancing with the Nation. Courtesans in Bombay Cinema by Ruth Vanita (New York and London: Bloomsbury, 2018, 2017 pp).
(Cópia disponível)

Global Burnout by Pascal Chabot (Tranlated from the french by Aliza Krefetz) (New York and London: Bloomsbury, 2013 | 2018, 134 pp.).
(entregue para recensão)

Seeing into Screens. Eye Tracking and the Moving Image Edited by Tessa Dwyer, Claire Perkins, Sean Redmond and Jodi Sita (New York: Bloomsbury, 2018, 275 pp.)
(Cópia disponível)

Mythopoetic Cinema: On the Ruins of European Identity by Kriss Ravetto-Biagiolli (New York: Columbia University Press, 2017, 314 pp.)
(Cópia disponível)

Nocturnal Fabulations. Ecology, Vitality and Opacity in the Cinema of Apichatpong Weerasethakul by Érik Bordeleau, Toni Pape, Ronald Rose-Antoinette and Adam Szymanski (London: Open Humanitiies Press, 2017, 149 pp.)
(Cópia disponível)

Organic Cinema. Film, Architecture and the Work of Béla Tarr by Thorsten Botz-Bornstein (New York: Berghahan Books, 2017, 221 pp.)
(Entregue para recensão)

Movement as Meaning in Experimental Cinema by Daniel Barnett (New York: Bloomsbury Academic, 2017, 323 pp.)
(entregue para recensão)

Playable Bodies. Dance Games and Intimate Media by Kiri Miller (New York: Oxford UNiversity Press, 2017, 237 pp.)
(Cópia disponível)

Speaking Pictures. Neuropsychoanalysis and authorship in Film and Literature by Alistair Fox (Bloomington: Indiana University Press, 2016, 292 pp.)
(Cópia disponível)

Carceral Fantasies. Cinema and Prison in Early Twentieth-Century America by Alison Griffiths (New York: Columbia University Press, 2016, 440 pp.)
(Cópia disponível)

The Grace of Destruction. A Vital Ethology of Extreme Cinemas by Elena del Río (New York and London: Bloomsbury Academic, 2016, 267 pp.).
(Cópia disponível)

Maghrebs in Motion. North African Cinema in Nine Movements by Suzanne Gauch (New York: Oxford University Press, 2016, 234 pp.)
(Cópia disponível)

Bodies in Pain. Emotion and the Cinema of Darren Aronofsky by Tarja Laine (New York and Oxford: Berghahn Books, 2015, 184 pp.)
(Cópia disponível)

The Documentary Film Reader. History, Theory, Criticism Edited by Jonathan Kahana (Oxford and New York: Oxford University Press, 2016, 1024 p.)
(entregue para recensão)

The Moving Image and the Assamese Culture. Joymoti, Jyotiprasad Agarwala, and Assamese Cinema by Bobbeeta Sharma (New Delhi: Oxford University Press, 2014, 184 pp.).
(Cópia disponível)

New Hong Kong Cinema. Transitions to Becoming Chinese in 21st-Century East Asia by Ruby Cheung (New York and Oxford: Berghahn Books, 2016, 273 pp.)
(entregue para recensão)

Postcolonial Theory and Avatar by Gautam Basu Thakur (London: Bloomsbury, 2016, 195 pp.)
(Cópia disponível)

Outside the Lettered City. Cinema, Modernity, and the Public Sphere in Late Colonial India by Manishita Dass (Oxford: Oxford University Press, 2016, 229 pp)
(Cópia disponível)

Skepticism Films: Knowing and Doubting the World in Contemporary Cinema by Philipp Schmerheim (New York: Bloomsbury, 2016, 335 pp)
(Cópia disponível)

Darren Aronofsky`s Films and the Fragility of Hope by Jadranka Skorin-Kapov (New York: Bloomsbury, 2016, 183 pp)
(Cópia disponível)

Klein, Sartre and Imagination in the Films of Ingmar Bergman by Dan Williams (New York: Palgrave Macmillan, 2015, 236 pp.)
(Cópia disponível)

Devices of Curiosity. Early Cinema & Popular Science by Oliver Gaycken (Oxford: Oxford University Press, 2015, 255 pp.)
(entregue para recensão - Nico Jenkins)

The Oxford Handbook of Film Music Studies by David Neumeyer (Edited by) (Oxford:Oxford University Press, 2014, 683 pp.)
(Enviado para recensão - Maile Colbert)

Documenting Cityscapes. Urban Change in Contemporary Non-Fiction Film by Iván Villarmea Álvarez (London & New York: Wallflower Press, Columbia University Press, 2015, 246 pp.).
(entregue para recensão)

Latin Hitchcock. How Almodóvar, Amenábar, De la Iglesia, Del Toro and Campanella became Notorious by Dona M. Kercher (London & New York: Wallflower Press / Columbia University Press, 2015, 384 pp.).
(Cópia disponível)

The Lumière Galaxy. Seven Key Words for the Cinema to Come by Francesco Casetti (New York: Columbia Universiity Press, 2015, 297 pp.).
(entregue para Recensão - Reno Lauro)

The Routledge Encyclopedia of Film Theory Edited by Edward Branigan and Warren Buckland (New York: Routledge, 2015, 526 pp.).
(Enviado para recensão - Patrícia Rosas)

Avant-Doc. Intersections of Documentary and Avant-Garde Cinema by Scott MacDonald (New York: Oxford University Press, 2015, 455 pp.).
(Entregue para recensão)

Film Worlds. A Philosophical Aesthetics of Cinema by Daniel Yacavone (New York: Columbia University Press, 2015, 311 pp.).
(entregue para recensão - Alexander Davis)

Cinematic Chronotopes. Here, Now, Me by Pepita Hesselberth (New York, London, New Delhi, Sydney: Bloomsbury, 2014, 189 pp).
(Enviado para recensão - Tom Lordan)

Afterlifes. Allegories of Film and Mortality in Early Weimar Cinema by Steve Choe (Oxford and New York: Oxford University Press, 2014).
(Cópia disponível)

The Biopic in Contemporary Film Culture Edited by Tom Brown and Belén Vidal (New York and London: Routledge / Taylor & Francis Group, 2014).
(Enviado para recensão - Sergey Toymentsev)

Cinepoetry. Imaginary Cinemas in French Poetry by Christophe Wall-Romana (New York: Fordham University Press, 2013).
(Cópia disponível)

In nome della legge: la giustizia nel cinema italiano de Guido Vitiello (Org.) (Editore Rubbetino 2013).
(Cópia disponível)

Manoel de Oliveira. Cinema, parola, politica de Francesco Saverio Nisio (Genova: Le Mani, 2010)
(Cópia disponível)

Les Titres de Film. Économie et évolution du titre de film français depuis 1969 de Noëlle Rouxel-Cubberly (Michel Houdiard Éditeur, 2011)
(Cópia disponível)

 *****

Recensões publicadas (Nº7 a Nº 13)

(Nº 13) Imanent Frames. Post-Secular Cinema between Malick and von Trier by John Caruana and Mark Cauchi (New York: SUNY Press, 2018, 293 pp.)

(Nº 13) Body Images in the Post-Cinematic Scenario. The Digitization of Bodies by Alberto Brodesco and Frederico Giordano (Edited by), (Mimesis International, 2017, 195 pp.)

(Nº 13) Falso Movimento. Ensaios sobre Escrita e Cinema by Clara Rowland e Tom Conley (Lisboa: Edições Cotovia, 2016, 274 pp.)

(Nº 13) Silent Cinema. A Guide to Study Research and Curatorship by Paolo Cherchi Usai (London and New York: Bloomsbury Publishing, 2019, 403 pp.)

(Nº 12) The Techne of Giving. Cinema and the Generous Form of Life by Timothy C. Campbell (Fordham University Press, 2017, 219 pp.)

(Nº 12) A Film-Philosophy of Ecology and Enlightenment by Rupert Read (New York: Routledge, 2019, 231 pp.)

(Nº 11) The Shape of Spectatorship. Art, Science, and Early Cinema in Germany by Scott Curtis (New York: Columbia University Press, 2015, 371 pp.)

(Nº 11) Hitchcock`s Moral Gaze, Edited by R. Barton Palmer, Homer B. Pettey, and Steven M. Sanders (New York: Suny Press / State UNiversity of New York, 2017, 331 pp.)

(Nº 11) Non-Cinema: Global Digital Film-making and the Multitude by William Brown (New York and London: Bloomsbury Academic, 2018, 296 pp.)

(nº 11) Pixar with Lacan. The Hysteric`s Guide to Animation by Lilian Munk Rösing (London: Bloomsbury, 2016, 181 pp. 181 pp.)

(Nº 11) Ethics and Aesthetics in Contemporary African Cinema by James S. Williams (London and New York: Bloomsbury Academic, 2019, 363 pp.)

(Nº 11) Sternberg and Dietrich. The Phenomenology of Spectacle by James Phillips (New York: Oxford UNiversity Press, 2019, 125 pp.)

(nº 10) Acinemas. Lyotard`s Philosophy of Film Edited by Graham Jones and Ashley Woodawrd (Edinburgh: Edinburgh University Press, 2017, 224 pp.)

(nº 10) Philippe Grandrieux Sonic Cinema by Greg Hainge (New York: Bloomsbury, 2017, 299 pp.)

(nº 10) Animation Cinema Workshop. From Motion to Emotion by Robi Engler (Bloomington: Indiana University Press, 2015, 300 pp.)

(nº 10) Art History for Filmmakers. The Art of Visual Storytelling by Gillian Mclver (London: Bloomsbury, 2016, 256 p.).

(nº 10) The Cinema of Poetry by P. Adams Sitney (Oxford: Oxford University Press, 2015, 276 pp.).

(nº 9) The Body and the Screen. Female Subjectivities in Contemporary Women`s Cinema by Kate Ince (New York: Bloomsbury Academic, 2017, 194 pp.)

(Nº 9) Doing Time. Temporality, Hermeneutics, and Contemporary Cinema by Lee Carruthers (New York: State University of New York / Suny Press, 2016, 173 pp.)

(Nº 9) Psychoanalytic Film Theory and "The Rules of the Game" by Todd Mcgowan (New York: Bloomsbury, 2015, 179 pp.)

(Nº 9) Surviving Images. Cinema, War, and Cultural Memory in the Middle East by Kamran Rastegar (Oxford: Oxford University Press, 2015, 235 pp.)

(nº 9) The Philosophy of Spike Lee edited de Mark T. Conard (The University Press of Kentucky, 2011).

(Nº 9) Deleuze, Japanese Cinema, and Atom Bomb. The Spectre of Impossibility by David Deamer (New York, London, New Delhi, Sydney: Bloomsbury, 2014).

(Nº 8) Understanding Sound Tracks Through Film Theory by Elsie Walker (Oxford: Oxford University Press, 2015, 435 pp.).

(Nº 8) Cinema of Simulation. Hyperreal Hollywood in the Long 1990s by Randy Laist (New York: Bloomsbury, 2015, 257 pp.)

(Nº 8) Mismatched Women. The Siren`s Song Throughthe Machine by Jennifer Fleeger (Oxford and New York: Oxford University Press, 2014).

(Nº 7) Post-Cinematic Theatre and Performance by Piotr Woycicki (New York: Palgrave Macmillan, 2014, 268 pp.).

(nº 7) Philosophy and Blade Runner by Timothy Shanahan (New York: Palgrave Macmillan, 2014).

(Nº 7) Music, Performance, and the Realities of Film. Shared Concert Experiences in Screen Fiction by Ben Winters (New York and London: Routledge, 2014).

(nº 7) Cinema and Agamben. Ethics, Biopolitics and the Moving Image Edited by Henrik Gustafsson and Asbjorn Gronstad (New York and London: Bloomsbury Academic, 2014).

(Nº 7) Seeing the Light. Exploring Ethics Through Movies de Wanda Theys (Wiley-Blackwell, 2012).