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Reconsiders contemporary Disney animation through the critical lens of genre theoryReveals new directions for the study of Disney's gender portrayals by combining a film genre perspective and the concept of post-feminism Examines the multifaceted interactions between Disney animated films, Pixar, Marvel, and other properties, providing insight into Disney's expanding cinematic universeSupported throughout by close analyse of the films, marketing materials, merchandising, and a wide range of comparative case studies from mainstream animation and Hollywood cinemaContemporary Disney Animation: Genre, Gender and Hollywood is the first in-depth study of Disney's latest animated output from the perspective of genre theory. Analysing a decade in Disney's history (2008-2018), Benhamou examines the multifaceted interactions between animated films, Disney properties such as Pixar and Marvel, and popular genres including the romantic comedy, the superhero film and the cop buddy film. Through this extensive critical lens, combined with a focus on gender, she provides illuminating and original insights on films such as Tangled, Frozen and Moana. Informed by wider discourses on contemporary Hollywood and post-feminism, this book challenges conventional approaches to Disney, and foregrounds the importance of animation in understandings of film genres

Reconsiders contemporary Disney animation through the critical lens of genre theoryReveals new directions for the study of Disney's gender portrayals by combining a film genre perspective and the concept of post-feminism Examines the multifaceted interactions between Disney animated films, Pixar, Marvel, and other properties, providing insight into Disney's expanding cinematic universeSupported throughout by close analyse of the films, marketing materials, merchandising, and a wide range of comparative case studies from mainstream animation and Hollywood cinemaContemporary Disney Animation: Genre, Gender and Hollywood is the first in-depth study of Disney's latest animated output from the perspective of genre theory. Analysing a decade in Disney's history (2008-2018), Benhamou examines the multifaceted interactions between animated films, Disney properties such as Pixar and Marvel, and popular genres including the romantic comedy, the superhero film and the cop buddy film. Through this extensive critical lens, combined with a focus on gender, she provides illuminating and original insights on films such as Tangled, Frozen and Moana. Informed by wider discourses on contemporary Hollywood and post-feminism, this book challenges conventional approaches to Disney, and foregrounds the importance of animation in understandings of film genres

Ausgehend von der Frühzeit der Kinematographie wird in dieser Arbeit die Entwicklung und Etablierung des Genres Werbefilm in Österreich bis zum Jahr 1938 erforscht. Beziehungsgeflechte und Interessenskonflikte zwischen Politik, Werbefilmproduzent*innen, Auftraggeber*innen und Kinobesitzer*innen werden dargelegt und geben Aufschluss über Produktionsbedingungen, soziale und gesellschaftliche Entwicklungen, Strategien der Ökonomisierung, Ausrichtung der Filme sowie über vielfältige Aufführungskontexte. Zudem wird erläutert, wie Neuerungen im Bereich der Filmtechnik nicht nur inhaltlich ästhetische Veränderungen nach sich zogen, sondern auch Vorführungspraktiken erweiterten. ; Starting from the early days of cinematography, this work explores the development and establishment of the advertising film genre in Austria until 1938. Relationships and conflicts of interest between politics, advertising film producers, clients and cinema owners are presented and provide information about production conditions, social and societal developments, strategies of economization, film orientation and the various performance contexts. Moreover, it explains how innovations in film technology not only changed contents and aesthetics but also extended screening practises.

Examining the significance of women's work in popular film genres, Genre, Authorship and Contemporary Women Filmmakers sheds light on women's contribution to genre cinema through an exploration of filmmakers like Kathryn Bigelow, Diablo Cody, Sofia Coppola and Kelly Reichard. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, the book interrogates questions of authorial subversion, gendered concepts of film authorship and male/female genre divisions, as well as re-evaluating certain genres as a space worthy of feminist criticism. By offering an analysis of the films themselves and the circumstances of production and reception, this book redefines political, theoretical and commercial conceptualisations of women's cinema, and offers new perspectives on how women filmmakers explore the aesthetic and imaginative power of genre.

The Hollywood political thriller is a film genre of unique relevance in the United States, often acting as a reflection of the fears and anxieties of its historical times. At the same time, however, the definition of its identity and boundaries still leaves room for further specification, perhaps due to the frequent consideration of the political thriller as part of the broader categories of either thriller narratives or political films. By revising the available literature and filmography and analyzing the narrative features of the classical political thriller, this article proposes a deeper definition of the genre that takes into account the nature of the broader 'thriller' category of films springing from a specific mode of crime fiction that focuses on a victim or threatened individual as its protagonist, depicts and conveys intense emotional states, portrays an unbalanced and highly existentialist worldview, and travels into the extraordinary while at the same time holding on to very concrete expectations of verisimilitude. The political thriller specifies this broader form of narration and links it to dramatic conflicts of political nature, investigative plots, reactive characters, historically grounded antagonists, a proximity to the sociopolitical history of the United States, and a certain iconography relating to institutional power. By establishing the main narrative traits of the political thriller, this definition hopes to lay the foundations for a better understanding of the genre, its history, and its seeming renaissance at the onset of the 21st Century

Although Onions Edionwe's films, such as Echoes of a Kingdom, Arousa N'ohuan-ren, and Aisiokuoba, are notable documentaries, they represent an "insignificant" component of the total number of movies that have been made in the Benin or Edo language film section of the Nigerian film culture (Nollywood). A critical review of the Benin video culture indicates that a majority of the Benin film content creators tend to ignore the documentary genre. This article explores the reasons Benin filmmakers do not produce documentaries. Perhaps, what evidences the tendency is the observable preference of Benin filmmakers to make historical, musical, comic, or social movies because they fear that the audience might find documentary films uninteresting and distasteful. This is an unpleasant trend in spite of documentary film's potency as a narrative medium and its potentialities for developing the human-mind and society. It is against this background that I used a complementarity of the emic and etic approaches to canvass the need for Benin cineastes to increasingly turn their creative radars towards the documentary genre, which can be a powerful developer and re-enforcer of Benin socio-cultural practices in the age of globalisation. Towards this end, Benin filmmakers should be provided with requisite grants and/or production funds by relevant governmental organizations, nongovernmental organizations, and organised private groups from within and outside the Benin locality to make films in the documentary format.

Acknowledgements -- Contents -- Notes on Contributors -- Overture -- Chapter 1: A Ballyhoo for Producers -- Notes -- Chapter 2: Actors Act. Directors Direct. Producers … Produce? Mel Brooks's The Producers and the Creation of an Archetype -- The Producers (1968) as a Film -- The Producers (2001) on Stage -- Notes -- Act 1. To the 1940s -- Chapter 3: Tony Pastor: The Father of Vaudeville -- Notes -- Chapter 4: Adolf Philipp and the German American Musical Comedy -- Philipp at the Germania Theater -- Notes -- Chapter 5: George Edwardes: The Guv'nor of Late Victorian Musical Theatre -- Notes -- Chapter 6: Charles Frohman: King of the Star-Makers -- Notes -- Chapter 7: Aggressive, Beleaguered, Commercial, Defiant: Marc Klaw and Abraham Erlanger -- Notes -- Chapter 8: Did the Shuberts Save Broadway? The Corporate Producers -- Early Operations to 1905 -- Sam S. and Lee Shubert, Incorporated and the Shubert Theatrical Company -- The Shubert Theatrical Company of New Jersey -- The Shubert Theatrical Corporation -- The Shubert Theatrical Corporation in Receivership -- Select Theatres and Select Operating Corporation -- Notes -- Chapter 9: Sam Harris: A Producing Patron of Innovation -- George M. Cohan/Cohan & Harris -- Irving Berlin -- George S. Kaufman and Moss Hart -- Notes -- Chapter 10: Florenz Ziegfeld Jr.'s 'Simple Idea': Girls and Music in Tastefully Extravagant Settings -- Notes -- Chapter 11: Feather-Footed Impresario: The Scandals of George White -- George White's Early Life and Career -- Producing the Scandals: 1919 to 1939 -- George White as Broadway Producer: Significance and Innovations -- Notes -- Chapter 12: Alexander A. Aarons and Vinton Freedley: The Smart Sophisticates -- Notes -- Chapter 13: Coherency: Lew Fields, the Performer-­Producer and Experimenter in Integration -- Fields and the Shuberts