The book delves into Todd Haynes' innovative approach to portraying Bob Dylan in his biopic, exploring the director's unique narrative techniques and artistic choices. It analyzes how Haynes captures Dylan's multifaceted identity and the cultural impact of his music. Through critical insights, the examination highlights the film's significance within the context of biographical storytelling and its reflection on the complexities of fame and artistry.
Forced to contend with unprecedented levels of psychological trauma during World War II, the United States military began sponsoring a series of nontheatrical films designed to educate and even rehabilitate soldiers and civilians alike. Traumatic Imprints traces the development of psychiatric and psychotherapeutic approaches to wartime trauma in the United States military, along with their links to formal and narrative developments in military and civilian filmmaking. Offering close readings of a series of films alongside analysis of period scholarship in psychiatry, and bolstered by research in trauma theory and documentary studies, Noah Tsika argues that trauma was foundational in postwar American culture. Examining wartime and postwar debates about the use of cinema as a vehicle for studying, publicizing, and even what has been termed "working through” war trauma, this book is an original contribution to scholarship on the military-industrial complex.
A free open access ebook is available upon publication. Learn more atCinematic Independence traces the emergence, demise, and rebirth of big-screen film exhibition in Nigeria. Film companies flocked to Nigeria in the years following independence, beginning a long history of interventions by Hollywood and corporate America. The 1980s and 1990s saw a shuttering of cinemas, which were almost entirely replaced by television and direct-to-video movies. However, after 1999, the exhibition sector was revitalized with the construction of multiplexes. Cinematic Independence is about the periods that straddle this disappearing the immediate decades bracketing independence in 1960 , and the years after 1999 . At stake is the Nigerian postcolony’s role in global debates about the future of the movie theater. That it was eventually resurrected in the flashy form of the multiplex is not simply an achievement of commercial real estate, but also a testament to cinema’s persistence—its capacity to stave off annihilation or, in this case, come back from the dead .