Film history, theory or criticism Books

Book SynopsisPresenting a social history of British crime film, this book focuses on the strategies used in order to address more radical notions surrounding class, politics, sex, delinquency, violence and censorship. Spanning post-war crime cinema to present-day "Mockney" productions, it contextualizes the films and identifies important and neglected works.Trade Review'In this excellent book on the British crime movie, a follow-up to his valuable studies of English-language and Scandinavian crime fiction, Forshaw interrogates the usual suspects, discovers many neglected pictures, and places them all in a larger social context. It's a work to read for pleasure and instruction, and then to keep on the reference shelf.' - Philip French, The Observer 'Crime fiction in films and literature is my meat. So Barry Forshaw's terrific book not only rekindled memories of films seen but provided clues to others yet to be revelled in. This rave has nothing to do with getting an honourable mention.' - Mike Hodges, Director, Get Carter 'An incredible work; so thorough, so informed and at the same time so very readable and entertaining.' - Peter James, Chair, Crime Writers' Association 'This book provides a much-needed shot in the arm for writing on British crime film. The colourful case-studies draw out the political complexities of this stalwart genre, opening up the films in insightful and often revisionary readings. Calling upon his compendious knowledge of the subject and injecting wit into his precise prose, Forshaw reinvigorates the field.' - Steven Peacock, Reader in Film and Television Aesthetics, Programme Coordinator MA Film and Television Aesthetics, University of Hertfordshire, UK 'Barry Forshaw has penetrated the locked-room mystery of the British crime film and brought it to book ... the verdict is "outstanding".' - Kim Newman, Author, Nightmare Movies 'Destined to become an essential volume on any self-respecting cinephile's bookshelf. Forshaw is bang-on about the British crime films you already know, but (even more importantly) makes you eager to track down and watch the lesser-known gems you haven't seen.' - Anne Billson, The GuardianTable of ContentsA Social History of the Crime Film The Age of Austerity: Post-war Crime Movies Class and Crime: Social Divisions Between Left and Right: Politics and Individuals Heritage Britain Shame of a Nation: Juvenile Delinquents and Exploitation The New Violence: The Loss of Innocence Scourging the Unacceptable: Censorship Battles Metropolitan Murder: London The Regions Breaking Taboos: Sex and the Crime Film Corporate Crime: Curtains for the Maverick Mockney Menace: The New Wave The Age of Acquisition: New Crime 21st Century Hybrids The Directors: Makers of Key Crime Films APPENDIX 1: The Directors: Makers of Key Crime Films APPENDIX 2: TV Crime APPENDIX 3: Crime and Espionage APPENDIX 4: Films, TV and Books Index

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Book SynopsisTim Burton has had a massive impact on twentieth and twenty-first century culture through his films, art, and writings. This book examines how his aesthetics, influences, and themes reflect the shifting social expectations in American culture by tracing his Burton's move from a peripheral figure in the 1980s to the center of Hollywood filmmaking.Trade Review“This volume represents a solid collection of essays that help the reader understand the complexities of Tim Burton and his work. … This book makes an important contribution to the growing body of Burton studies and is a welcome addition to the libraries of Burton scholars as well as fans who want to probe the work of this artist in greater depth.” (John W. Morehead, The Journal of the Fantastic in the Arts, Vol. 27 (2), 2017)"The volume covers Burton's work from 1984 to 2012, fully fleshing out both Burton the auteur and Burton the cultural phenomenon . . . The sheer number of approaches taken here assures that the book will engage fans, scholars, and cinephiles. Summing Up: Highly recommended. Lower- and upper-division undergraduates; researchers and faculty; general readers." - CHOICE Table of ContentsIntroduction: Mainstream Outsider: Burton Adapts Burton; Jeffrey Andrew Weinstock PART I: AESTHETICS 1. Burton Black; Murray Pomerance 2. Costuming the Outsider in Tim Burton's Cinema, or, Why a Corset is like a Codfish; Catherine Spooner 3. Danny Elfman's Musical Fantasyland, Or Listening to a Snow Globe; Isabella van Elferen 4. Tim Burton's "Filled" Spaces: Alice in Wonderland; J. P. Telotte PART II: INFLUENCES AND CONTEXTS 5. How to See Things Differently: Tim Burton's Reimaginings; Aaron Taylor 6. "He wants to be just like Vincent Price": Influence and Intertext in the Gothic Films of Tim Burton; Stephen Carver 7. Tim Burton's Trash Cinema Roots: Ed Wood and Mars Attacks!; Rob Latham 8. A Monstrous Childhood: Edward Gorey's Influence on Tim Burton's The Melancholy Death of Oyster Boy; Eden Lee Lackner 9. It Came From Burbank: Exhibiting the Art of Tim Burton; Cheryl Hicks 10. "Tim is Very Personal": Sketching a Portrait of Tim Burton's Auteurist Fandom and its Origins; Matt Hills PART III: THEMATICS 11. Tim Burton's Popularization of Perversity: Edward Scissorhands, Batman Returns, Sleepy Hollow, and Corpse Bride; Carol Siegel 12. "This is my art, and it is dangerous!": Tim Burton's Artist-Heroes; Dominic Lennard 13. Tim Burton and the Creative Trickster: A Case Study of Three Films; Katherine A. Fowkes

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Book SynopsisWhat does it mean to live as a ghost? Exploring spectrality as a metaphor in the contemporary British and American cultural imagination, Peeren proposes that certain subjects – migrants, servants, mediums and missing persons – are perceived as living ghosts and examines how this figuration can signify both dispossession and empowerment or agency.Trade Review"This is an important and original work of criticism. The perspective it adopts is fresh and gripping; the application of the 'spectral metaphor' to non-literal situations, such as the 'invisibility' of migrant workers and domestic servants, expands the sense of 'spectrality' in fascinating new ways; the scholarship and theoretical acumen are superb throughout; the written style of the work is elegant, precise and accessible; and the political and ethical implications of the study are lucidly spelled out, without any attempt prematurely to resolve the most difficult issues." - Colin Davis, Royal Holloway University of London, UKTable of ContentsAcknowledgments Introduction: The Spectral Metaphor 1. Forms of Invisibility: Undocumented Migrant Workers as Living Ghosts in Stephen Frears's Dirty Pretty Things and Nick Broomfield's Ghosts 2. Spectral Servants and Haunting Hospitalities: Upstairs, Downstairs, Gosford Park and Babel 3. Spooky Mediums and the Redistribution of the Sensible: Sarah Waters's Affinity and Hilary Mantel's Beyond Black 4. Ghosts of the Missing: Multidirectional Haunting and Self-Spectralization in Ian McEwan's The Child in Time and Bret Easton Ellis's Lunar Park Afterword: How to Survive as a Living Ghost? Notes Bibliography Index

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Book SynopsisThe Highway Horror Film argues that 'Highway Horror' is a hither-to overlooked sub-genre of the American horror movie. In these films, the American landscape is by its very accessibility rendered terrifyingly hostile, and encounters with other travellers almost always have sinister outcomes.Table of ContentsAcknowledgements Introduction: Bumps in the Road: Defining Highway Horror 1. 'I Almost Drove Right Past': Motels and Highway Horror 2. 'That Truck Driver Tried to Kill Me!' The Highway Nemesis Narrative 3. 'Let's Go For a Ride, Otis': Serial Killers in the Highway Horror Film 4. 'They Never Even Saw It Coming': The Fatal Car Crash in the Highway Horror Film Notes Bibliography Filmography Index

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Book SynopsisPhilosophy and Blade Runner explores philosophical issues in the film Blade Runner , including human nature, personhood, identity, consciousness, free will, morality, God, death, and the meaning of life. The result is a novel analysis of the greatest science fiction film of all time and a unique contribution to the philosophy of film.Table of ContentsAcknowledgments Preface 1. Introduction 2. Being Human 3. Persons 4. Identity 5. Consciousness 6. Freedom 7. Being Good 8. God 9. Death 10. Time and Meaning Epilogue Literature Cited Endnotes Index

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Book SynopsisIn recent years, there has been something of an explosion in the performance of live music to silent films. This book is the first of its kind in that it aims to bring together writings and interviews to delineate the culture of providing music for silent films.Table of ContentsList of FiguresNotes on Contributors1. Music and the Resurfacing of Silent Film: A General Introduction; Ann-Kristin Wallengren and K.J.Donnelly2. How Far Can Too Far Go?: Radical Approaches to Silent Film Music; K.J.DonnellyPART I: ARCHIVES AND HISTORICAL PRACTICES3. Between Practice and Theory: Silent Film Sound and the Music Archive; Carolin Beinroth4. Gottfried Huppertz's Metropolis: The Acme of 'Cinema Music'; Emilio Audissino5. The Music of The Circus; Gillian B.Anderson6. Cowboys, Beggars and the Deep Ellum Blues: Playing Authentic to Silent Films; Michael HammondPART II: NOVEL MUSIC AND NEW ISSUES7. Bringing a Little Munich Disco to Babelsberg: Giorgio Moroder's Score for Metropolis; Jeff Smith8. Soviet Fidelity and the Pet Shop Boys; Beth Carroll9. Multiple Soundtrack Versions on DVD: Scoring Modern City Life and Pastoral Countryside; Christopher NatzénPART III: CURRENT PRACTICES AND NEW TRADITIONS10. Edit's Hand. Music to The Phantom Carriage; Matti Bye11. Scoring Ruttman's Berlin: Musical Meaning in Historical and Critical Contexts; Matt Malsky12. Silent Film, Live Music and Contemporary Composition; Ed Hughes13. To be in Dialogue with the Film: With Neil Brand and Lillian Henley at the Masterclasses at Pordenone Silent Film Festival; Ann-Kristin Wallengren

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Book Synopsis1. Introduction: Six Theses on Plant Horror; or, Why Are Plants Horrifying?.Dawn Keetley.-2. The Pre-cosmic Squiggle: Tendril Excesses in Early Modern Art and Science Fiction Cinema.Agnes Scherer.-3. Seeds of Horror: Dominance and Sacrifice in Sir Gawain and the Green Knight, The Wicker Man, and Children of the Corn.Angela Tenga.-4. The Mandrake's Lethal Cry: Homuncular Plants in J.K. Rowling's Harry Potter and the Chamber of Secrets.Keridiana W. Chez.-5. Green Hells: Monstrous Vegetations in Twentieth-Century Representations of Amazonia.Camilo Jaramillo.-6. What We Think about When We Think about Triffids: The Monstrous Vegetal in Post-War British Science Fiction.Graham J. Matthews.-7. The Revenge of the Lawn: The Awful Agency of Uncontained Plant Life in Ward Moore's Greener Than You Think and Thomas Disch's The Genocides.Jill E. Anderson.-8. Vegetable Discourses in 1950s US Science Fiction Film.Adam Knee.-9. Sartre and the Roots of Plant HorrorRandy Laist.-10. WTable of Contents1. Introduction: Six Theses on Plant Horror; or, Why Are Plants Horrifying?.Dawn Keetley.-2. The Pre-cosmic Squiggle: Tendril Excesses in Early Modern Art and Science Fiction Cinema.Agnes Scherer.-3. Seeds of Horror: Dominance and Sacrifice in Sir Gawain and the Green Knight, The Wicker Man, and Children of the Corn.Angela Tenga.-4. The Mandrake’s Lethal Cry: Homuncular Plants in J.K. Rowling’s Harry Potter and the Chamber of Secrets.Keridiana W. Chez.-5. Green Hells: Monstrous Vegetations in Twentieth-Century Representations of Amazonia.Camilo Jaramillo.-6. What We Think about When We Think about Triffids: The Monstrous Vegetal in Post-War British Science Fiction.Graham J. Matthews.-7. The Revenge of the Lawn: The Awful Agency of Uncontained Plant Life in Ward Moore’s Greener Than You Think and Thomas Disch’s The Genocides.Jill E. Anderson.-8. Vegetable Discourses in 1950s US Science Fiction Film.Adam Knee.-9. Sartre and the Roots of Plant HorrorRandy Laist.-10. What Do Plants Want?.Gary Farnell.-11. Monstrous Relationalities: The Horrors of Queer Eroticism and “Thingness” in Alan Moore and Stephen Bissette’s Swamp Thing.Robin Alex McDonald and Dan Vena.-12. “Just a Piece of Wood”: Jan Švankmajer’s Otesánek and the EcoGothic.Elizabeth Parker.-13. An Inscrutable Malice: The Silencing of Humanity in The Ruins and The Happening.Jericho Williams.-14. The Sense of the Monster Plant.Matthew Hall

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Book Synopsis9781250062246.

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Book Synopsis

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Book SynopsisContents List of Figures Acknowledgements Prologue: At the Ballet Ruse 1. A Term That Means Everything, and Nothing Very Specific 2. Aesthetic Economies: The Expressive and the Excessive 3. What Was Mise en scène? 4. The Crises (1): Squeezed and Stretched 5. The Crises (2): The Style It Takes 6. Sonic Spaces 7. A Detour via Reality: Social Mise en scène 8. Cinema, Audiovisual Art of the 21st Century 9. The Rise of the Dispositif Epilogue: Five Minutes and 15 Seconds with Ritwik Ghatak Notes BibliographyTrade Review“The book serves as a most valuable reference work on what has long remained a loosely defined aspect of cinema and a masterclass in audiovisual analysis that teachers and writers on cinema will benefit from re-reading. It ought to find a place in any library of film writing … .” (yusef sayed, yswriting.wordpress.com, February, 2016)'A wonderfully ambitious and erudite work that will require multiple re-readings to absorb and retain its generous profusion of ideas.' - Girish Shambu, www.girishshambu.blogspot.co.uk 'The fact is, this highly optimistic and constructive book seeks to use 'mise en scène,' whatever its past limitations (and variable meanings within separate film cultures, which the book is quite attentive to), as a sort of construction site on which to build other tools of analysis, which are outlined in the four final chapters: 'Sonic Spaces,' 'A Detour via Reality: Social Mise en scène,' 'Cinema, Audiovisual Art of the 21st Century,' and 'The Rise of the Dispositif'. At once dense and highly accessible, this book is an impassioned battle cry for the future of film art grounded in an expanded and sharpened view of its critical history.' - Jonathan Rosenbaum 'Representing more than two decades of remarkably deep, passionate labor within the world of cinema, Mise en Scène and Film Style is at once a boldly panoramic survey and a work of fine-grained formal analysis. The twin aims of his study to offer a new global 'history of forms in cinema' and a fresh approach to mise en scène as the lens through which to understand film history send him and his readers on a whirlwind journey that ultimately does justice to the audacious scope promised in the book's subtitle.' - Noah Isenberg, Film Comment 'Gathering together a seemingly inconsonant collection of texts in its broad-armed embrace, the Australian-born scholar Adrian Martin's new volume Mise en Scène and Film Style is a virtuosic act of synthesis, and a destroyer of false dichotomies.' - Nick Pinkerton, Sight and Sound 'Profoundly well-informed, erudite, and incisive, but also loping, witty, and passionate, the book sheds light not just on a notoriously slippy concept but also on the endless possibilities of cinema experience.' - David Greven, CineasteTable of ContentsContents List of Figures Acknowledgements Prologue: At the Ballet Ruse 1. A Term That Means Everything, and Nothing Very Specific 2. Aesthetic Economies: The Expressive and the Excessive 3. What Was Mise en scène? 4. The Crises (1): Squeezed and Stretched 5. The Crises (2): The Style It Takes 6. Sonic Spaces 7. A Detour via Reality: Social Mise en scène 8. Cinema, Audiovisual Art of the 21st Century 9. The Rise of the Dispositif Epilogue: Five Minutes and 15 Seconds with Ritwik Ghatak Notes Bibliography

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Trade Review“It is extremely well written and very accessible to readers, both academic and general. … This book is special for two reasons. First, it is an excellent example of how to balance scholarship with accessibility for both academic and general readers. Aldridge’s book is thoroughly enjoyable to read and comprehensive in its analysis. Secondly, Aldridge focuses on both film and television adaptations, proving successfully that one can analyse both media effectively in the same context.” (Llewella Chapman, Historical Journal of Film, Radio and Television, Vol. 38 (1), 2018)“This has been a book I have been dipping into over the past few months and for anyone who is interested in film and TV adaptations of Agatha Christie’s work then this is certainly the book to buy. It covers adaptations as early as 1928 and as late as the BBC’s And Then There Were None adaptation in 2015 and it even has two chapters devoted to non-UK and USA adaptations. … So overall I would recommend this book.” (crossexaminingcrime, crossexaminingcrime.wordpress.com, March, 2017) Table of Contents

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Book SynopsisSuzanne Ferriss is Professor Emeritus at Nova Southeastern University, USA. She has published extensively on fashion, film and cultural studies, co-editing Chick Flicks: Contemporary Women at the Movies (2008), Footnotes: On Shoes (2001) and On Fashion (1994), among other titles. She has also co-authored An Alternative History of Bicycles and Motorcycles (2016) and Motorcycle (2008).Trade ReviewScholar Ferriss traces and deconstructs how Coppola’s knowledge of interior design, fashion, architecture, art and music informs every aspect of her movies – and their carefully crafted, painterly compositions – and illuminates how deftly style becomes substance. * Everything Zoomer *Suzanne Ferriss presents us with an indispensable study that effectively captures the complexities of Sofia Coppola's universe through the lens of fashion, culture and celebrity. * The Journal of Dress History *Thought provoking for fans of Coppola’s work and casual viewers alike. * Film Criticism *Ferriss offers a sophisticated and wide-ranging analysis of Coppola's films and their intersections with fashion, art and celebrity culture. This is the first study, in particular, that positions Coppola's aesthetic preoccupations from the perspective of neither feminism nor post-feminism, but rather from that of art history. This book, therefore, offers a genuinely new, vital and fascinating take on a currently neglected, or under-studied, aspect of Coppola's oeuvre. Ferriss combines rich analysis with extensive knowledge of Coppola's artistic influences and writes both lucidly and beautifully. This study will be indispensable to both undergraduate students and serious scholars of not only film, but also those working in interdisciplinary subjects such as fashion studies, gender studies and art history. -- Anna Backman Rogers, Senior Lecturer in Feminism and Visual Culture, University of Gothenburg, SwedenSuzanne Ferriss’s timely and lively book makes a convincing case for considering Sofia Coppola a designer as much as a director, creating beautifully fashioned story worlds. Threading together analysis of Coppola’s use of costume, her carefully curated locations, and her eclectic range of photographic and fine art references, this book will appeal not just to devotees of Coppola but also scholars interested in the vibrant interconnections Ferriss demonstrates between fashion, film, and visual cultures. -- Fiona Handyside, Associate Professor of Film Studies, University of Exeter, UKThis vibrant addition to the growing body of Coppola scholarship is an exquisitely detailed celebration of her luscious visual style, in the particular context of costume and fashion, photography and fame. Ferris explores Coppola’s unique set of influences and firmly demonstrates her cultural prestige and indisputable significance. -- Lucy Bolton, Deputy Head of Film, Queen Mary, University of London, UKA tour de force of extensive range yet admirable clarity, The Cinema of Sofia Coppola stands apart in the rapidly expanding field of Coppola studies for its definitive demonstration of the filmmaker's debt and contribution to fashion cultures, broadly defined. Moving nimbly between areas as diverse as fine art, phenomenology and business, Suzanne Ferriss' study conjures vividly the far-reaching impact of "Coppolism" as a densely intermedial aesthetic and social phenomenon. -- Mary Harrod, Assistant Professor, University of Warwick, UKThe Cinema of Sofia Coppola will fast become the go-to reference volume for any student, scholar or cinephile interested in the films of this talented, award-winning director. Writing in a readable and engaging style, the author provides a wealth of well-researched material about the complicated itinerary that lead to the success of one of the world’s most prominent women auteurs. -- Hilary Radner, Professor Emeritus, University of Otago, New ZealandTable of ContentsIntroduction 1. Self-Fashioning 2. Fashioning Worlds 3. Film Style 4. The Fashion-Fame-Film Industrial Complex Conclusion Fashion and Film Timeline Bibliography Index

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Book SynopsisThe history of Greek cinema post-1945 is best understood through the stories of its most internationally celebrated and influential directors. Focusing on the works of six major filmmakers active from just after WWII to the present day, with added consideration of many others, this book examines the development of cinema as an art form in the social and political contexts of Greece. Insights on gender in film, minority cinemas, stylistic richness and the representation of historical trauma are afforded by close readings of the work and life of such luminaries as Michael Cacoyannis, Nikos Koundouros, Yannis Dalianidis, Theo Angelopoulos, Antouanetta Angelidi, Yorgos Lanthimos, Athena-Rachel Tsangari and Costas Zapas. Throughout, the book examines how directors visually transmute reality to represent unstable societies, disrupted collective memories and national identity.Table of ContentsINTRODUCTION TO THE POST-WAR GREEK CINEMA 1945-2012 CHAPTER ONE The Construction and Deconstruction of Cinematic Realism in Michael Cacoyannis’s Films CHAPTER TWO Nikos Koundouros and the cinema of anarchist realism CHAPTER THREE Yannis Dalianidis and the Cryptonymies of Visuality CHAPTER FOUR An introduction to the Ocular Poetics of Theo Angelopoulos CHAPTER FIVE The Feminine Gaze in Antoinetta Angelidi’s Cinema of Imaginative Cathedrals CHAPTER SIX The No-Wave Greek cinema of Transgression OPTIMISTIC EPILOGUE

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Book SynopsisDeborah Martin is Senior Lecturer in Latin American Cultural Studies at University CollegeLondon. She has published widely on Latin American film, including Painting, Literature and Filmin Colombian Feminine Culture: Border Guards, Nomads and Women (2012) and The Cinema ofLucrecia Martel (2016).Deborah Shaw is Reader in Film Studies at the University of Portsmouth, UK, where her keyresearch interests are in transnational film theory and Latin American cinema. She is the foundingco-editor of the Transnational Cinemas journal and her books include Contemporary Latin AmericanCinema: Ten Key Films (2003) and The Three Amigos: The Transnational Filmmaking of Guillermo delToro, Alejandro Gonzalez Inarritu, and Alfonso Cuaron (2013).Table of ContentsIntroduction Deborah Martin and Deborah Shaw Preface: Performing the Impossible in Plain Sight B. Ruby Rich Part 1: Industrial Contexts Chapter 1. Beyond Difference: Female Participation in the Brazilian Film Revival of the 1990s Lúcia Nagib Chapter 2. Through Female Eyes: Reframing Peru on Screen Sarah Barrow Chapter 3. “Parando la olla documental”: Women and Contemporary Chilean Documentary Film Claudia Bossay and María-Paz Peirano Part II: Representations Chapter 4. Beyond the Spitfire: Re-visioning Latinas in Sylvia Morales’ A Crushing Love Catherine Leen Chapter 5. Intimacy and Distance: Domestic Servants in Latin American Women’s Cinema: La mujer sin cabeza/The Headless Woman and El niño pez/The Fish Child Deborah Shaw Chapter 6. Women’s filmmaking and comedy in Brazil: Anna Muylaert’s Durval Discos and É Proibido Fumar Leslie Marsh Chapter 7. Young women at the margins: Discourses on exclusion in two films by Solveig Hoogesteijn Constanza Burucúa Part III: Key Agents Chapter 8. Re-Framing Mexican Women’s Filmmaking: The case of Marcela Fernández Violante Niamh Thornton Chapter 9. Bertha Navarro and the Remapping of Latin American Cinema: Markets, Aesthetics, Cultural Politics Marvin D’Lugo Chapter 10. Planeta ciénaga: Lucrecia Martel and Contemporary Argentine Women’s Filmmaking Deborah Martin

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Book SynopsisThis short textbook provides an introduction to queer theory, exploring its key genealogies and terms as well as its application across various academic disciplines and to contemporary life more generally.The authors engage with a wide range of developments in queer theory thinking including discussions of identity politics, transgender theory, intersectionality, post-colonial theory, Indigenous studies, disability studies, affect theory, and more.In offering an updated reflection on the present tensions that queer theory must negotiate, as well as its unfolding future(s), Queer Theory Now is an ideal resource for anyone starting out on their queer theory journey; for students who want to get a grasp of the basic concepts, for teachers looking for a textbook for their queer theory course, or for scholars who want a quick go-to resource for key queer theory ideas and terms.Trade ReviewQueer Theory Now is a thorough synthesis of thirty years of queer theory and its precursors. It should be required reading in classrooms around the world. An essential primer! * Don Romesburg, Sonoma State University, USA *Queer Theory Now is an invaluable resource for newcomers to queer theory. McCann and Monaghan define key terms with outstanding clarity. Centering the work of theorists of colour and trans theorists, the authors uncover the variegated histories that have converged on, and diverged from, queer theory. Eminently teachable. * Jean-Thomas Tremblay, New Mexico State University, USA *This is a rigorous and pedagogically designed introduction to queer theory that covers not only the field’s foundations but also more recent debates. Moreover, the inclusion of case studies, definitions of key terms and film recommendations makes complex ideas accessible for students finding their way in queer theory. – Sam McBean, Queen Mary University of London, UK * Sam McBean, Queen Mary University of London, UK *Part disciplinary history, part field assessment, part critical reference, Queer Theory Now is perhaps most importantly a primer for the queer work ahead. It will be a welcome queer pedagogy text in both undergraduate and graduate classrooms. * Matt Brim, College of Staten Island, CUNY, USA *An absolute must read! Queer Theory Now, carefully crafted by McCann and Monaghan, is an incredibly timely, necessary and rich resource. Undergraduates and post-graduate students interested in engaging with historical and contemporary debates in queer theories will find much to stimulate their thinking in this book. * Leanne Coll, Deakin University, Australia *The last real primer for queer theory was Annemarie Jagose’s Queer Theory over 20 years ago. Queer Theory Now fills that enormous gap, covering key areas such as intersectionality, the global dimensions of queerness, and the history of the field, while remaining attentive to the difficulties of defining the complex and ever-evolving perspectives on sexuality and gender. * Ross Forman, University of Warwick, UK *The most concise and comprehensive explanation of the past, present and future of queer theory available today. This book traces queer theory’s significant histories and locates its renewed relevance in contemporary times. It makes queer theory’s evolution and complexities easy to access and is a must-have for any university library. * Joanna McIntyre, Swinburne University of Technology, Australia *McCann and Monaghan have written one of the most insightful overviews of queer theory currently on the market. It is highly recommended for those seeking an accessible guide to key ideas, issues, developments, and controversies in this field. The writers deserve credit for their ample demonstration of queer theory's applicability to a range of disciplines, lives, and events. * Páraic Finnerty, University of Portsmouth *Table of Contents1. Defining Queer Theory 2.From Pathology to Pride 3.Sexuality and Feminism 4.AIDS and Acting Up 5.Outing the Closet 6.Theory Meets Identity 7.Negotiating Intersections 8.Temporality and Queer Utopias.

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Book SynopsisThis collection charts the terrain of contemporary Japanese animation, one of the most explosive forms of visual culture to emerge at the crossroads of transnational cultural production in the last twenty-five years.Trade Review"Both cinema and animation have served simultaneously as transnational cultural forms as well as national forums, formed by specific discourses on nationalism and modernization. In fact, in the 1910s-20s Japan, animation was not defined as distinct from cinema in terms of social regulations or production concerns. Animation, together with cinema, came under the scrutiny of public educators, censors and national ideologues. The point of intersection for these diverse concerns was the construction of national cinema for international dissemination. The attempt of Cinema Anime to dismantle the distinction between cinema and animation, national cinema and transnational visual culture, is genuinely challenging, but definitely necessary in the tension-ridden period of media globalization." -Daisuke Miyao, University of Oregon, USA 'Cinema Anime is an important and thought-provoking collection of essays by a number of the leading figures in the field. It includes some of the first scholarly work on several challenging and noteworthy anime that have not received enough academic attention up to now. With chapters that range from cross-cultural overviews to ambitious critical interventions, this volume will be of interest to a wide audience, from students to experienced scholars. Indeed, Cinema Anime should be required reading for anyone committed to anime criticism.' -Christopher Bolton, Senior Editorial Board, Mechademia "The brain is the screen," as quoted in the introduction, is an apt expression of Cinema Anime's aim to keep thinking in new ways about anime even as it gains its mindshare, to take new positions towards it even as it finds its place. Its academics know where to look within LAIN, the one show that best learned the liberating message of EVANGELION; Satoshi Kon, the most important anime director to emerge in the past decade and without, showing how film technology itself informs the narrative of anime and how contemporary installation artists draw it forth from flatland to examine our real space. Cinema Anime rephrases the question: where anime is, rather than what it is to be defined. -Carl Gustav Horn, author of Strange Colors: The Power of Japanese Animation 'This is a worthy addition to any Anime fans' library or for those who want to study the media in more depth.' - Phil Jones, SF CrowsnestTable of ContentsScreening Anime - S.T. Brown Part I: Towards a Cultural Politics of Anime "Excuse Me, Who Are You?": Performance, the Gaze, and the Female in the Works of Kon Satoshi - S.Napier The Americanization of Anime and Manga: Negotiating Popular Culture - A.Levi The Advent of Meguro Empress: Decoding the Avant-Pop Anime TAMALA 2010 - T.Takayuki Part II: Post-Human Bodies in the Animated Imaginary Frankenstein and the Cyborg Metropolis - S.Orbaugh Animated Bodies and Cybernetic Selves: The Animatrix and the Question of Post-Humanity - C.Silvio The Robots from Takkun's Head: Cyborg Adolescence in FLCL - B.Ruh Part III: Anime and the Limits of Cinema The First Time as Farce: Digital Animation and the Repetition of Cinema - T.Lamarre "Such is the Contrivance of the Cinematograph" Dur(anim)ation, Modernity, and Edo Culture in Tabaimo's Animated Installations - L.Monnet

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Book SynopsisThe book is an exploration of the creative crossings between the liberative stream of the eschatology of Edward Schillebeeckx and the stylistic strategies of 'Third Cinema', political cinema dedicated to the representation of Third World liberation.Trade Review'I find Screening Schillebeeckx: Theology and Third Cinema in Dialogue very interesting. I am not one who sees a lot of films; for me, that is a defect. I think cinema, which speaks of human life, is very interesting and also very necessary for theologians to study. It is a serious task that involves expertise in different areas. Theology without the interdisciplinary approaches is not possible at the moment.' Edward Schillebeeckx 'The great Soviet filmmaker Sergei Eisenstein once wrote of the social value of 'intellectual montage,' in which new and revolutionary ideas might spring from the juxtaposition of previously separate images. In his book Screening Schillebeeckx, Antonio Sison performs just such an intellectual montage. By bringing together the liberatory theology of Schillebeeckx (who never writes of film) with the stylistic images of Third Cinema (of whose directors certainly never read the Dutch theologian), Sison succeeds in crossing and colliding the cinematic with the theological to produce, as Eisenstein would say, an 'explosion' of meaning.' S. Brent Plate, author of Walter Benjamin, Religion and Aesthetics and editor of Representing Religion in World Cinema (Palgrave) 'Sison offers a fresh, constructive and theological contribution to understanding Third Cinema through a theological lens. Each chapter unfolds grounding principles that stimulate the religious imagination for alternative applications in this field of study. New radical portals of insight are opened for those who engage in Sison's work.' Angela Ann Zukowski, Professor, Department of Religious Studies, The University of DaytonTable of ContentsForeword; R.J.Schreiter Introduction PART I: CINEMATIC PRINCIPLES The Concept of Third Cinema Exploring National Dimensions of Third Cinema Films from a Virtual Geography of Third Cinema PART II : THEOLOGICAL PRINCIPLE Political Holiness: The Eschatological Perspective of Edward Schillebeeckx PART III : CREATIVE CROSSINGS The Crystallization of Political Holiness in Third Cinema Conclusion

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Book SynopsisEdited by leading authorities on the subject, and bringing together a stellar cast of contributors, this detailed appraisal of Pedro Almodovar s unique cinematic art examines the themes, style, and aesthetics of his oeuvre and locates it in the context of the profound cultural transformations in Spain since the 1970s.Trade Review“Well researched and clearly organized, the volume boasts a helpful scholarly apparatus. Almodovar scholars will want to keep this companion handy, and all advanced students of film will appreciate it. Summing Up: Recommended. Graduate students, researchers, faculty.” (Choice, 1 December 2013) Table of ContentsNotes on Contributors viii Acknowledgments xv Introduction: The Skin He Lives In 1 Marvin D’Lugo and Kathleen M. Vernon Part I Bio-Filmography 19 1 Almodóvar’s Self-Fashioning: The Economics and Aesthetics of Deconstructive Autobiography 21 Paul Julian Smith 2 Creative Beginnings in Almodóvar’s Work 39 Francisco A. Zurian 3 Almodóvar and Hitchcock: A Sorcerer’s Apprenticeship 59 Dona Kercher 4 A Life, Imagined and Otherwise: The Limits and Uses of Autobiography in Almodóvar’s Films 88 Alberto Mira Part II Spanish Contexts 105 5 El Deseo’s “Itinerary”: Almodóvar and the Spanish Film Industry 107 Marina Díaz López 6 Almodóvar and Spanish Patterns of Film Reception 129 Josetxo Cerdán and Miguel Fernández Labayen 7 Memory, Politics, and the Post-Transition in Almodóvar’s Cinema 153 Juan Carlos Ibáñez 8 The Ethics of Oblivion: Personal, National, and Cultural Memories in the Films of Pedro Almodóvar 176 Adrián Pérez Melgosa Part III At the Limits of Gender 201 9 Our Rapists, Ourselves: Women and the Staging of Rape in the Cinema of Pedro Almodóvar 203 Leora Lev 10 Paternity and Pathogens: Mourning Men and the Crises of Masculinity in Todo Sobre Mi Madre and Hable Con Ella 225 Dean Allbritton 11 Domesticating Violence in the Films of Pedro Almodóvar 244 Noelia Saenz 12 La piel que habito: A Story of Imposed Gender and the Struggle for Identity 262 Francisco A. Zurian Part IV Re-readings 279 13 Re-envoicements and Reverberations in Almodóvar’s Macro-Melodrama 281 Marsha Kinder 14 The Flower of His Secret: Carne trémula and the Mise en Scène of Desire 304 Celestino Deleyto 15 Scratching the Past on the Surface of the Skin: Embodied Intersubjectivity, Prosthetic Memory, and Witnessing in Almodóvar’s La mala educación 322 Julián Daniel Gutiérrez-Albilla 16 Almodóvar’s Stolen Images 345 Javier Herrera Part V Global Almodóvar 365 17 Women on the Verge of a Nervous Breakdown: From Madrid (1988) to New York (2010) 367 Isolina Ballesteros 18 Almodóvar’s Global Musical Marketplace 387 Kathleen M. Vernon 19 Almodóvar and Latin America: The Making of a Transnational Aesthetic in Volver 412 Marvin D’Lugo 20 Is there a French Almodóvar? 432 Jean-Claude Seguin 21 Almodóvar in Asia: Hong Kong, Taiwan, and LGBT Film Culture 453 E. K. Tan Part VI Art and Commerce 469 22 To the Health of the Author: Art Direction in Los abrazos rotos 471 John D. Sanderson 23 Making Spain Fashionable: Fashion and Design in Pedro Almodóvar’s Cinema 495 Gerard Dapena 24 Almodóvar, Cyberfandom, and Participatory Culture 524 Vicente Rodríguez Ortega Index 551

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Book SynopsisDr Deborah Cartmell is Reader in English and Head of the Graduate Centre in the Faculty of Humanities at De Montfort University. She is currently co-editing the international journal Adaptation and has completed several books on Literature on Screen. She is a general editor of the Screen Adaptations series, and a founding member of the Association of Literature on Screen.Trade Review[The Screen Adaptations series] offers some meaty ideas to film studies students. -- Susan Elkin * The Stage *

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Book Synopsis A definitive account of Blaxploitation cinema—the freewheeling, often shameless, and wildly influential genre—from a distinctive voice in film history and criticism   In 1971, two films grabbed the movie business, shook it up, and launched a genre that would help define the decade. Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song, an independently produced film about a male prostitute who beats up cops and gets away, and Gordon Parks’s Shaft, a studio-financed film with a killer soundtrack, were huge hits, making millions of dollars. Sweetback upended cultural expectations by having its Black rebel win in the end, and Shaft saved MGM from bankruptcy. Not for the last time did Hollywood discover that Black people went to movies too. The Blaxploitation era was born.   Written by film critic Odie Henderson, Black Caesars and Foxy Cleopatras is a spirited history of a genre and the

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