First printing April, 2008; second printing June, 2008;
third printing October, 2008; fourth printing July, 2009;
fifth printing August, 2010.
Rutgers University Press, 2008
Audio book published 2011 by University Press Audiobooks.
Spanish Translation published by Ediciones Robinbook, Barcelona, Spain, 2009.
"This is the film history book we've been waiting for."
-- David Sterritt, Chairman, National Society of Film Critics
"This excellent introduction stands out in a crowded field with its lively, accessible writing, broad coverage, and particular focus on traditionally marginalized figures in film history. Dixon and Foster discuss the technical innovations that moved the art form forward, and their lucid descriptions of often complicated concepts convey the excitement of innovation in mechanical as well as creative processes. The most striking aspect of the book is the coverage of women, African Americans, and Third World filmmakers, which strongly complements its solid coverage of American and European film. Illustrations abound, and even the best-versed cineaste will find new films to track down after reading the breezy, enthusiastic analysis in this book. Highly recommended for all collections, this text would also make an excellent textbook for introductory film-studies courses."-- Christian Zabriskie, Library Journal
"With the goal of offering 'a fast paced tour' of movie history, Dixon and Foster have produced a study in the tradition of Paul Rotha's The Film till Now. The authors touch all the bases--they address new trends in international moviemaking, technologies, and critical theory and the emergence of new national and ethnic cinemas--and relate film history to social history (the latter augmented by a witty, useful time line: e.g., the year l900 lists quantum theory, Freud, the Brownie camera, the Boxer Rebellion, and 'the hamburger' as benchmarks). Each new technique, style, school, trend, and newly visible ethnic or feminist group takes its place in the larger history, and Dixon and Foster make it all accessible to the neophyte reader without ever breaking the pace. Uncommonly well-reproduced stills and a topically organized bibliography enhance the discussion. Summing Up: Highly recommended. Lower- and upper-division undergraduates; general readers." -- Thomas Cripps, Choice.
21st Century Hollywood: Movies in the Era of Transformation
(Rutgers University Press, 2011)
“A significant and impressive work on the cutting edge of current critical discussion on the digitization of film . . . the sheer scope of Dixon and Foster’s knowledge is dazzling.” — Steven Shaviro, author of Post-Cinematic Affect
They are shot on high-definition digital cameras—with computer-generated effects added in postproduction—and transmitted to theaters, web sites, and video-on-demand networks worldwide. They are viewed on laptop, iPod, and cell phone screens. They are movies in the 21st century—the product of digital technologies that have revolutionized media production, content distribution, and the experience of movie-going itself. 21st - Century Hollywood introduces readers to these global transformations and describes the decisive roles that Hollywood is playing in determining the digital future for world cinema. It offers clear, concise explanations of a major paradigm shift that continues to reshape our relationship to the moving image. Filled with numerous detailed examples, the book will both educate and entertain film students and movie fans alike.
"Foster presents a timely indictment of US "celebrity" culture, wherein a credit card, plastic surgery, and happy pills represent the keys to the American Dream. She examines how constant exposure to the fantasy world of the rich and famous impacts the lives of average individuals, who try to replicate these worlds through behavior, dress, and, in many cases, dieting and/or plastic surgery. And if all this fails to help them achieve the American Dream of unending luxury and fame, these celebrity-seduced individuals can always turn to pharmaceuticals for their ultimate happiness. Foster also points out that the illusions created by the media lead many to believe they can "class-pass" as one of their favorite celebrities with a mere swipe of their credit card, an idea promoted through advertisements, reality television shows such as Queer Eye for the Straight Guy, and "documentary" programming like VH1's The Fabulous Life. Both timely and pertinent to the current discourse on class and culture in the US, Foster's book is a must. Summing Up: Essential. All readers; all levels. -- A. F. Winstead, CHOICE March 2006
Foster has also published Women Film Directors: An International Bio-Critical Dictionary (Greenwood Press) on the history and critical reception of women filmmakers in the United States and abroad, and Women Filmmakers of the African and Asian Diaspora (Southern Illinois University Press), on the work of women filmmakers within African and Asian society.
Books:
Contact: gfoster2@unl.edu
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