Nicholas Rombes Bücher

Exploring the intersection of film theory and digital media, this work presents innovative ideas that challenge traditional concepts. It examines how the digital age transforms cinematic experiences and invites readers to rethink the relationship between film and technology. By analyzing contemporary films and their impact, the book offers fresh perspectives on narrative, aesthetics, and audience engagement in a rapidly evolving landscape.

Examines punk as a movement. This book contains descriptions of the sounds, and places those sounds in the context of history. Drawing on many fanzines, magazines, and newspapers, it provides a portrait of the ways in which punk was an expression of defiance. It covers many of the legendary punk bands, as well as the obscure, forgotten ones.

Does the digital era spell the death of cinema as we know it? Or is it merely heralding its rebirth? Are we witnessing the emergence of something entirely new? Cinema in the Digital Age examines the fate of cinema in this new era, paying special attention to the technologies that are reshaping film and their cultural impact. Examining Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), The Ring (2002), among others, this volume explores how these films are haunted by their analogue past and suggests that their signature element are their deliberate imperfections, whether those take the form of blurry or pixilated images, shakey camera work, or other elements reminding viewers of the human hand guiding the camera. Weaving together a rich variety of sources, Cinema in the Digital Age provides a deeply humanistic look at the meaning of cinematic images in the era of digital perfection.

The dumbest band with the dumbest tunes - but still they transcend all other groups as the ground zero of rock, reduced to its crudest essence. This, their first album is a brutal combination of 60s pop and garage punk with adolescent tales of girls and sniffing glue.