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Book SynopsisNew essays exploring the surging field of experimental film in today's Germany and Austria. Filmmaking in Germany and Austria has changed dramatically in the last decades with digitalization and the use of video and the Internet. Yet despite predictions of a negative effect on experimental film, the German and Austrian filmscape is filled with dynamic new experiments, as new technological possibilities push a break with the past, encouraging artists to find new forms. This volume of theoretically engaged essays explores this new landscape, introducing the work of established and emerging filmmakers, offering assessments of the intent and effect of their productions, and describing overall trends. It also explores the relationship of today's artists to the historical avant-garde, revealing a vibrant form of artistic engagement that has a history but has certainly not ended. The essays address such questions as the effects of transformations of cinematic space; the political effects of the breakdownof barriers between experimental film and advertising, and of the rise of music videos and reality TV; the effects of the collapse of the Soviet bloc, the rise of capitalism, and the European movement on experimental film work; and whether these experiments are aligned with mass political movements -- for instance that of anti-globalization -- or whether they strive for autonomy from quotidian politics. Randall Halle is Klaus W. Jonas Professorof German and Film Studies at the University of Pittsburgh. Reinhild Steingröver is Associate Professor of German in the Department of Humanities at the Eastman School of Music.Trade ReviewBringing together contributions from 15 scholars, many of them established historians of German and Austrian film, this collection. . . is among the first to address recent experimental film practices systematically, with attention to both a wide range of filmmakers, genres, and styles, and to the theoretical dimensions of film experiments 'after the avant-garde'. . . The best contributions to this volume move beyond historical documentation to theorize and rethink the notion of the avant-garde, or to place experimental film productions in a larger aesthetic and political context. . .After the Avant-Garde makes a significant contribution to expanding conceptions of contemporary German film. * GERMAN STUDIES REVIEW *Has uncommon scholarly verve, artistic tension, and suggests how lively film criticism can be. * GERMAN QUARTERLY *[This] book does a marvelous job of going beyond introductory work about German and Austrian experimental film. While the essays can be read independently, they complement each other in ways that show how the contributors have exchanged their ideas in workshops, seminars, and conferences. Readers looking for information on a single artist or 'school' will not be disappointed, but the strength of this collection lies in its mosaic character. * H-NET *In this superb collection, Halle and Steingröver provide insights both into the most recent developments in experimental filmmaking in Germany and Austria and into the works of eight fascinating contemporary experimental artists. * CHOICE *[A] useful starting point for a necessary reevaluation of 1980s German film history, suggesting a more diverse cultural field than that of the 'cinema of consensus' which Eric Rentschler rightly identified as the dominant mode of the mainstream German [film] industry. . . . Particularly impressive in this collection is the coherence of the contributions. . . . [E]xplores the possibilities for the continuing political potential of visual culture at a time when [it] was decreed lost by those critics who saw the New German Cinema giving way to a postmodernism that was being voraciously commodified by the culture industry. -- Paul Cooke * MONATSHEFTE *Table of ContentsIntroduction - Randall Norman Halle and Reinhild Steingröver The Future of "Art" and "Work" in the Age of Vision Machines: Harun Farocki - Thomas Elsaesser The Embodied Film: Austrian Contributions to Experimental Cinema - Bernadette Wagenstein Interview with Filmmaker Birgit Hein - Randall Norman Halle and Reinhild Steingröver Videorebels: Actions and Interventions of the German Video-Avant-Garde - Annette Jael Lehman Meida in the Interim: Independent Film in East Germany before and after 1989 - Claus Löser Blackbox GDR: DEFA's Untimely Avant-Garde - Reinhild Steingröver In Your Face: Activism, Agit-Pop, and the Autonomy of Migration; The Case of Kanak Attak - Nanna Heidenreich In Your Face: Activism, Agit-Pop, and the Autonomy of Migration; The Case of Kanak Attak - Vojin Sasa Vukadinovic Rapidly Expanding Cinema: On Border Rescue and the Tendentiousness of Interventionist Art - Randall Norman Halle The Post-Pop Hauntings of Bjorn Melhus - Alice A. Kuzniar Schlingensief's Peep Show: Post-Cinematic Spectacles and the Public Space of History - Richard Langston From the Diary to the Webcam: Michael Brynntup and the Medical Self - QWERTY Cinema: Christoph Girardet/Matthias Muller's Pheonix Tapes - Rembert Hüser Kirsten Winter: From Avant-Garde to Second Modernity - Larson Powell The Representation of Space in the Films of Heinz Emigholz - Owen Lyons Shocking the Audience, Shocking the Artist: Aesthetic Affinities to the Avant-Garde in Elke Krystufek's Work - Christina Schmid

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Book SynopsisNew essays re-evaluating Weimar cinema from a broadened, up-to-date perspective. Traditionally, Weimar cinema has been equated with the work of a handful of auteurist filmmakers and a limited number of canonical films. Often a single, limited phenomenon, "expressionist film," has been taken as synonymous with the cinema of the entire period. But in recent decades, such reductive assessments have been challenged by developments in film theory and archival research that highlight the tremendous richness and diversity of Weimar cinema. This widening of focus has brought attention to issues such as film as commodity; questions of technology and genre; transnational collaborations and national identity; effects of changes in socioeconomics and gender roles onfilm spectatorship; and connections between film and other arts and media. Such shifts have been accompanied by archival research that has made a cornucopia of new information available, now augmented by the increased availability of films from the period on DVD. This wealth of new source material calls for a re-evaluation of Weimar cinema that considers the legacies of lesser-known directors and producers, popular genres, experiments of the artistic avant-garde, and nonfiction films, all of which are aspects attended to by the essays in this volume. Contributors: Ofer Ashkenazi, Jaimey Fisher, Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans, Richard W.McCormick, Nancy P. Nenno, Elizabeth Otto, Mihaela Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith, Philipp Stiasny, Chris Wahl, Cynthia Walk, Valerie Weinstein, Joel Westerdale. Christian Rogowski is Professor of German at Amherst College.Trade ReviewAn important contribution to the literature on Weimar cinema, originally published in 2010, now available in an economical paperback edition. . . . The editor, Christian Rogowski . . . places in focus not the canonical films of the time like Caligari, Nosferatu, or Metropolis, but instead important films of the 'second rank' and specific thematic connections. . . . Almost all the essays are conceived and formulated at a high level and make visible connections between film and society in the Weimar period. The approximately sixty images are helpful to the reader. . . . * HANS-HELMUT PRINZLER, WWW.HHPRINZLER.DE *[A]n enormously important and didactically helpful intervention . . . . [The book] lives up to the promise of its title and should soon become mandatory reading for everyone interested in new perspectives on Weimar Cinema. * FILMBLATT *The chapters excel in historically contextualizing their respective films. * MONATSHEFTE *Goes beyond a mere reevaluation of film classics in matters of film and topic selection. . . . The essays offer readers fresh perspectives on . . . a cornucopia of undiscovered or relatively unknown filmic gems, paired with long overdue approaches of media studies . . . . [I]t genuinely rediscovers Germany's filmic legacy. * GERMAN STUDIES REVIEW *[T]he scholars' excitement about exploring this hitherto uncharted territory is palpable and infectious. The balance of theoretical scaffolding and ambitious storytelling make the articles . . . perfectly suited for undergraduates and should find ample use in film classes...[and] indeed should inspire more classes on the early years of German cinema. * WOMEN IN GERMAN NEWSLETTER *Rogowski's outstanding collection moves beyond the familiar canon to reevaluate the diverse legacy of Weimar film...[P]rovide[s] new social, historical, and aesthetic contexts for understanding Weimar cinema and introduce[s] readers to less-familiar popular, abstract, documentary, and genre films. * CHOICE *A bold attempt at expanding the field and revising the standard literature. . . . on a formerly neglected set of films and topics. A detailed filmography provides useful information on availability. * TIMES LITERARY SUPPLEMENT *Table of ContentsIntroduction: Images and Imaginaries - Christian Rogowski Richard Oswald and the Social Hygiene Film: Promoting Public Health or Promiscuity? - Jill Suzanne Smith Unsettling Nerves: Investigating War Trauma in Robert Reinert's Nerven (1919) - Humanity Unleashed: Anti-Bolshevism as Popular Culture in Early Weimar Cinema - Philipp Stiasny Desire versus Despotism: The Politics of Sumurun (1920), Ernst Lubitsch's "Oriental" Fantasy - Richard W. McCormick Romeo with Sidelocks: Jewish-Gentile Romance in E. A. Dupont's Das alte Gesetz (1923) and Other Early Weimar Assimilation Films - Cynthia Walk "These Hands Are Not My Hands": War Trauma and Masculinity in Crisis in Robert Wiene's Orlacs Hände (1924) - Anjeana Hans The Star System in Weimar Cinema - Joseph Garncarz Schaulust: Sexuality and Trauma in Conrad Veidt's Masculine Masquerades - Elizabeth Otto The Musical Promise of Abstract Film - Joel Westerdale The International Project of National(ist) Film: Franz Osten in India - Veronika Fuechtner The Body in Time: Wilhelm Prager's Wege zu Kraft und Schönheit (1925) - Henrik Galeen's Alraune (1927): The Vamp and The Root of Horror - The Dialectic of (Sexual) Enlightenment: Wilhelm Dieterle's Geschlecht in Fesseln (1928) - Christian Rogowski Babel's Business - On Ufa's Multiple Language Film Versions, 1929-1933 - Chris Wahl "A New Era of Peace and Understanding":The Integration of Sound Film into German Popular Cinema, 1929-1932 - Ofer Ashkenazi Landscapes of Death: Space and the Mobilization Genre in G. W. Pabst's Westfront 1918 (1930) - Jaimey Fisher Undermining Babel: Victor Trivas's Niemandsland (1931) - Nancy P. Nenno Unmasking Brigitte Helm and Marlene Dietrich: The Vamp in German Romantic Comedies (1930-33) - Filmography Notes on the Contributors Index

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Book SynopsisBing Crosby's innovations as recording artist, actor, businessman, and radio and television performer. A multidisciplinary exploration, plus personal testimony from family members and colleagues. Going My Way: Bing Crosby and American Culture is the first serious study of the singer/actor's art and of his centrality to the history of twentieth-century popular music, film, and the entertainment industry. The volume uses a wide range of scholarly and cultural perspectives to explore Crosby's unique and lasting achievements. It also includes tributes and reminiscences from Bing's widow Kathryn, his grandson Steve, his record producer Ken Barnes, and one of his most popular successors, Michael Feinstein. Other contributors include Gary Giddins, the author of a widely acclaimed recent biography of the singer, and Will Friedwald, the acknowledged expert on the developmentof the "great American songbook." In addition to studying Bing Crosby's innovations and remarkable achievements as a recording artist, Going My Way explores his accomplishments as an actor, businessman, and radio and television performer. Going My Way makes an impressive case not only for Crosby's considerable talent and inimitable style, but also for his raising the quality of popular singing to the level of art. Contributors: Ken Barnes, Samuel L. Chell, Kathryn Crosby, Steven C. Crosby, John Mark Dempsey, Bernard F. Dick, Deborah Dolan, Michael Feinstein, Will Friedwald, Jeanne Fuchs, Gary Giddins, Peter Hammar, M. Thomas Inge, Malcolm MacFarlane, Eric Michael Mazur, Martin McQuade, Elaine Anderson Phillips, Ruth Prigozy, Walter Raubicheck, Linda A. Robinson, Stephen C. Shafer, David White, F.W. Wiggins Ruth Prigozy is Professor of English at Hofstra University. Walter Raubicheck is Professor of English and Chair of the English Department at Pace University.Trade ReviewThese essays focus on the legendary performer in various media during [the years 1931-57]. . . This wide-ranging collection makes it clear that Crosby's importance is not and should never be forgotten. Summing Up: Recommended. Upper-division undergraduates and above. * CHOICE *The splendid essays in Going My Way form an intricate collage that captures Crosby at the intersection of so many aspects of American culture. From jazz to film, Catholicism to cartoons, rock 'n' roll to the revolutionary taping of broadcasts, Crosby emerges as a more complex and fascinating figure than any single biographer or historian could render. -- Philip Furia, Professor of Creative Writing, University of North Carolina, Wilmington * . *This is a fine book about one of the great entertainers in America. It tells of our culture and of one of the biggest stars America ever had, one I was privileged to know and work with. Not only was Bing Crosby the best singer I ever heard but he was also a great actor, and he brought humor and honesty to anything he did. Going My Way captures the essence of Bing. -- Margaret WhitingTable of ContentsIntroduction: Bing Crosby -- Nothing Is What It Seems - Gary Giddins Analogies of Ignorance in Going My Way - David E. White Going My Way?: Crosby and Catholicism on the Road to America - Eric Michael Mazur Saint Bing: Apatheia, Masculine Desire, and the Films of Bing Crosby - Elaine Anderson Phillips Bing on a Binge: Casting-Against-Type in The Country Girl - Linda A. Robinson Bing Crosby: Rock 'n' Roll Godfather - John Mark Dempsey American Archetypes: How Crosby and Hope Became Hollywood's Greatest Comedy Team - Walter Raubicheck Crosby at Paramount: From Crooner to Actor - Bernard F. Dick Bing Crosby, Walt Disney, and Ichabod Crane - M. Thomas Inge A Couple of Song and Dance Men: Bing Crosby and Fred Astaire - Jeanne Fuchs Rivalries: The Mutual Mentoring of Bing Crosby and Frank Sinatra - Samuel J. Chell From Crooner to American Icon: Caricatures of Bing Crosby in American Cartoons from the 1930s to the 1950s - Stephen C. Shafer Not Just "The Crooner": Bing Crosby's Research and Business Endeavors in World War II - Deborah Dolan Bing's Entertainment and War Bond Sales Activities During World War II - Malcolm Macfarlane Bing Crosby's Magnetic Tape Revolution - Peter Hammar and Martin McQuade The Bing Crosby Fan Clubs - F. B. (Wig) Wiggins Conclusion: Bing Crosby -- Architect of Twentieth-Century Style - Will Friedwald Sing, Bing, Sing - Kathryn Crosby Thoughts on Relationships: Father, Son, Grandson - Steven Crosby The Real Bing Crosby - Ken Barnes

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Book SynopsisFood, Inc. is guaranteed to shake up our perceptions of what we eat. This powerful documentary deconstructing the corporate food industry in America was hailed by Entertainment Weekly as more than a terrific movie,it's an important movie." Aided by expert commentators such as Michael Pollan and Eric Schlosser, the film poses questions such as: Where has my food come from, and who has processed it? What are the giant agribusinesses and what stake do they have in maintaining the status quo of food production and consumption? How can I feed my family healthy foods affordably? Expanding on the film's themes, the book Food, Inc. will answer those questions through a series of challenging essays by leading experts and thinkers. This book will encourage those inspired by the film to learn more about the issues, and act to change the world.Trade ReviewDavid Denby, New Yorker "Those of us who avoid junk food, with many sighs of relief and self-approval, may still be eating junk a good deal of the time. This enraging fact, which will not surprise anyone who has read such muckraking books as Eric Schlosser's "Fast Food Nation" (2001) and Michael Pollan's "The Omnivore's Dilemma" (2006), is one of the discomforting meanings of the powerful new documentary "Food, Inc.," an angry blast of disgust aimed at the American food industry." The American Conservative "If you care about what you're eating, you should see the new documentary Food Inc." Takepart.com "Most of you have probably heard about Food, Inc., the movie, but did you also know there's a companion book to the film? The book explores the challenges raised by the movie in fascinating depth through 13 essays, most of them written especially for this book, and many by experts featured in the film. Highlights include chapters by Michael Pollan (Omnivore's Dilemma and In Defense of Food), Anna Lappe (Hope's Edge and Grub), Eric Schlosser (Fast Food Nation and film co-producer), Robert Kenner (film director), and a chapter on asking the right questions from Sustainable Table! The book is so popular it's already in its fourth printing."

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Book SynopsisA unique, exhaustively researched viewers guide to movies about Jesus that takes readers film-by-film from Olcott's silent classic From the Manger to the Cross (1912) through Dornford- May's Son of Man (2006). Drawing on his experience as a biblical scholar and teacher on religion and film, Barnes Tatum looks at Jesus films in all their dimensions: as cinematic art, literature, biblical history, and theology. A fascinating analysis of all the Jesus movies that have been made since the beginning of cinematography.

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Book SynopsisMoviegoers often assume Frank Capra's life resembled his beloved films (such as Mr. Smith Goes to Washington and It's a Wonderful Life). A man of the people faces tremendous odds and, by doing the right thing, triumphs! But as Joseph McBride reveals in this meticulously researched, definitive biography, the reality was far more complex, a true American tragedy. Using newly declassified U.S. government documents about Capra's response to being considered a possible ""subversive"" during the post-World War II Red Scare, McBride adds a final chapter to his unforgettable portrait of the man who gave us It Happened One Night, Mr. Deeds Goes to Town, and Meet John Doe.Trade Review"Masterly, comprehensive, and frequently surprising." (Barry Gewen, the New York Times Book Review)"

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Book SynopsisFred Zinnemann directed some of the most acclaimed and controversial films of the twentieth century, yet he has been a shadowy presence in Hollywood history. In Fred Zinnemann and the Cinema of Resistance, J. E. Smyth reveals the intellectual passion behind some of the most powerful films ever made about the rise and resistance to fascism and the legacy of the Second World War, from The Seventh Cross and The Search to High Noon, From Here to Eternity, and Julia. Smyth's book is the first to draw upon Zinnemann's extensive papers at the Academy of Motion Picture Arts and Sciences and brings Fred Zinnemann's vision, voice, and film practice to life. In his engagement with the defining historical struggles of the twentieth century, Zinnemann fought his own battles with the Hollywood studio system, the critics, and a public bent on forgetting. Zinnemann's films explore the role of women and communists in the antifascist resistance, the West's support of Franco after the Spanish Civil War, and the darker side of America's national heritage. Smyth reconstructs a complex and conflicted portrait of Zinnemann's cinema of resistance, examining his sketches, script annotations, editing and production notes, and personal letters. Illustrated with seventy black-and-white images from Zinnemann's collection, Fred Zinnemann and the Cinema of Resistance discusses the director's professional and personal relationships with Spencer Tracy, Montgomery Clift, Audrey Hepburn, Vanessa Redgrave, and Gary Cooper; the critical reaction to his revisionist Western, High Noon; his battles over the censorship of From Here to Eternity, The Nun's Story, and Behold a Pale Horse; his unrealized history of the communist Revolution in China, Man's Fate; and the controversial study of political assassination, The Day of the Jackal. In this intense, richly textured narrative, Smyth enters the mind of one of Hollywood's master directors, redefining our knowledge of his artistic vision and practice.

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Book SynopsisApril 2, 2018 was the 50th anniversary of a 1968 premiere screening in Washington, D.C. of Stanley Kubrick's 2001: A Space Odyssey. The film remains the most fascinating cinematographic adventure given to experience. As a tribute to the masterpiece, and to the maestro himself, this essay which was first presented in 1995 as a scholarly paper explores the multiple connections to the Odyssean theme that one may find in Stanley Kubrick's filmography.Kubrick's unweaving and re-weaving of the cinematographic tapestry reflect his attachment to the changeability implied in the Odyssean theme, which has become the theme of questioning, the perpetual questioning of one's possibilities. The camera's shuttling back and forth in time, round and round in space, through the means of dolly movements, shots and reverse shots, circular and spiraling recurrences, equates the director's shuttling between classical and avant-garde techniques, between painting and photography, between musical intensity and spatial silence. A chassé-croisé which the pluricephal director utilizes with a view to producing new angles of view and new parallaxes: a constant Kubrickian experimentation of the cinematographic language.

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Book SynopsisThe Film Theory in Practice Series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. The first book in the series, Psychoanalytic Film Theory and The Rules of the Game, offers a concise introduction to psychoanalytic film theory in jargon-free language and shows how this theory can be deployed to interpret Jean Renoir’s classic film. It traces the development of psychoanalytic film theory through its foundation in the thought of Sigmund Freud and Jacques Lacan through its contemporary manifestation in the work of theorists like Slavoj Žižek and Joan Copjec. This history will help students and scholars who are eager to learn more about this important area of film theory and bring the concepts of psychoanalytic film theory into practice through a detailed interpretation of the film.Trade ReviewA non-technical introduction to Lacanian thought and its role in current psychoanalytic film theory ... McGowan is very clear and considerate of his reader. * Alphaville *This is a brilliantly lucid account of psychoanalytic theory and its relevance to the interpretation of the film text. Todd McGowan presents a clear and rigorous explication of psychoanalytic theory in his illuminating textual analysis of Jean Renoir’s The Rules of the Game, one of the cinema’s greatest films. This is an indispensable book for anyone interested in the interpretation of films and fascinating reading for those with a particular interest in film as a form of public dreaming. * Barbara Creed, Professor of Screen Studies, University of Melbourne, Australia *Todd McGowan’s Psychoanalytic Film Theory and The Rules of the Game is a long overdue up-to-date survey of the field and its key thinkers.The book is an invaluable resource for both new students as well as advanced readers because it not only explores the concepts of desire, fantasy, and enjoyment of film and in film but also considers the debates between critical methodologies involving screen theory, the gaze, and ideological fantasy.Its comprehensive review of The Rules of the Game provides an insightful psychoanalysis of the director, characters, and audience.Beyond writing an exemplary model of cogent theory and lucid criticism, McGowan demonstrates how the psychoanalytic study of film offers radical and revolutionary possibilities for art and life. * Alex E. Blazer, Associate Professor of English at Georgia College & State University, USA *Table of ContentsIntroduction Section 1 : Psychoanalysis and Psychoanalytic Film Theory Section 2 : Psychoanalysis and The Rules of the Game Conclusion Appendices - Further Reading - Filmography

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Book SynopsisA longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with contemporary cultural relevance. That David Bowie has influenced many lives is undeniable to his fans. He requisitions and challenges his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be ‘us’ and why we are here. Enchanting David Bowie explores David Bowie as an anti-temporal figure and argues that we need to understand him across the many media platforms and art spaces he intersects with including theatre, film, television, the web, exhibition, installation, music, lyrics, video, and fashion. This exciting collection is organized according to the key themes of space, time, body, and memory - themes that literally and metaphorically address the key questions and intensities of his output.Trade ReviewThis scintillating collection considers David Bowie's contemporaneity, showing how the star looks very different today—and how every different Bowie is a hero, if just for one day. With each chapter like a crystal ball ricocheting around a multi-level labyrinth, Enchanting David Bowie is full of surprises and delights for the fan and scholar alike. * Christopher Schaberg, Associate Professor of English, Loyola University New Orleans, USA, and author of The Textual Life of Airports and _Deconstructing Brad Pitt *Consider for a moment, David Bowie’s extraordinary body of work, not just the music, but also his assimilation of different media practices: writing, painting, performance, film and video. This volume coheres around four thematic vectors–space, time, body and memory–to interrogate Bowie’s remarkable corpus of cultural production. In the process, Enchanting David Bowie–itself a standout work–not only illuminates but also construes ‘Bowie’–or versions of Bowie–that are at once compelling and fascinating. * Constantine Verevis, Associate Professor of Film & Screen Studies, Monash University, Australia *A comprehensive critical study of the enigma that is David Bowie has been a long time coming - and now it's finally here! Enchanting David Bowie: Space/Time/Body/Memory offers a rich, thoughtful and intellectually challenging series of essays that paint a picture of the complex chameleon that is Bowie. The charismatic array of alter egos, the fascination with cosmic travel, the groundbreaking music that sang its way into the souls of many generations, the transformation of music performance into an art form, the transgressive play with gendered identity - this and so much more makes this collection a must have for anyone serious about Bowie, his identity, his music and his iconic status, which continues to spellbind into the twenty-first century. * Angela Ndalianis, Head of Screen and Cultural Studies, University of Melbourne, Australia *If Bowie, ever the chameleon, is in the habit of leaving aesthetic corpses behind, the goal of Enchanting Bowie is to dissect them. The volume is organized around four thematic concepts: space, time, body, and memory … This may sound disconcerting to Bowiephiles and musicologists, but the end result is actually quite impressive. Bowie’s performance becomes a supple text that can be endlessly reinterpreted. * LA Review of Books *The overwhelming strength of this volume is its extremely broad definition of Bowie’s ‘work’. From album covers, to a customised jacket, to his atypical eyes, we move far beyond monochrome analysis of lyrical content. Its inter- and cross-disciplinary approach, presenting analysis informed by film-making, fashion, musicology, performance and drama, as well as cultural studies and media and communication, results in some highly creative contributions… The effect of this volume as a whole is that much of Bowie’s output, however familiar to the reader, cannot be viewed in the same way after encountering these contributors’ analyses. * Celebrity Studies *Table of ContentsIntroduction: Toija Cinque, Christopher Moore and Sean Redmond List of Contributors Introduction Section One: Space Section Introduction Chapter 1: Keeping Space Fantastic: The Transformative Journey of Major Tom Michael Lupro, Portland State University, USA Chapter 2: Ziggy’s Urban Alienation : Assembling the Heroic Outsider Ian Chapman, The University of Otago, New Zealand Chapter 3: Desperately Seeking Bowie: How Berlin Bowie Tourism Transcends the Sacred Jennifer Otter and John Sparrowhawk, University of East London, UK Chapter 4: Confronting Bowie’s Mysterious Corpses Tanja Stark, Manager, Canasta Studio, Brisbane, Australia Section Two: Time Section Introduction Chapter 5: Time Again: The David Bowie Chronotope Will Brooker, Kingston University, UK Chapter 6: Bowie’s Covers: the Artist as Modernist David Baker, Griffith University, Brisbane, Australia Chapter 7: Ain't There One Damn Flag That Can Make Me Break Down and Cry?: The Formal, Performative and Emotional Tactics of Bowie's Singular Critical Anthem 'Young Americans’ Amedeo D’Adamo, University of Switzerland (It) and the Universita Cattolica, Italy Chapter 8: 2004 (Bowie vs Mashup) Christopher Moore, Deakin University, Australia Section Three: Body Section Introduction Chapter 9: The Eyes of David Bowie Kevin Hunt, Nottingham Trent University, UK Chapter 10: Semantic Shock: David Bowie Toija Cinque, Deakin University, Australia Chapter 11: The Whiteness of David Bowie Sean Remond, Deakin University, Australia Chapter 12: David Bowie is … Customizing Helene Thian, University of the Arts London/London College of Fashion Postgraduate Programme, UK Section Four: Memory Section Introduction Chapter 13: He's Not There: Velvet Goldmine and the Specters of David Bowie Glenn D’Cruz, Deakin University, Australia Chapter 14: Between Sound and Vision: Low and Sense Dene October, University Arts London, UK Chapter 15: Where Are We Now?: Walls and memory in David Bowie’s Berlins Tiffany Naiman, University of California, Los Angeles, USA Chapter 16: ‘You never knew that, that I could do that’: Bowie, Video Art and the Search for Potsdammer Platz Daryl Perrins, University of Glamorgan, UK

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Book SynopsisThe pervasive image of New York’s 42nd Street as a hub of sensational thrills, vice and excess, is from where “grindhouse cinema,” the focus of this volume, stemmed. It is, arguably, an image that has remained unchanged in the mind’s eye of many exploitation film fans and academics alike. Whether in the pages of fanzines or scholarly works, it is often recounted how, should one have walked down this street between the 1960s and the 1980s, one would have undergone a kaleidoscopic encounter with an array of disparate “exploitation” films from all over the world that were being offered cheaply to urbanites by a swathe of vibrant movie theatres. The contributors to Grindhouse: Cultural Exchange on 42nd Street, and Beyond consider “grindhouse cinema” from a variety of cultural and methodological positions. Some seek to deconstruct the etymology of “grindhouse” itself, add flesh to the bones of its cadaverous history, or examine the term’s contemporary relevance in the context of both media production and consumerism. Others offer new inroads into hitherto unexamined examples of exploitation film history, presenting snapshots of cultural moments that many of us thought we already knew.Trade ReviewThe Grindhouse is a fascinating phenomenon but it is too often seen as a wild and eclectic one, something that is praised for being chaotic and anarchic. The current collection goes beyond this celebratory rhetoric to examine the multiple forms and histories that converge in the Grindhouse. It unpicks and unpacks the phenomenon in ways that demonstrate its richness and variety, but also make sense of that richness and variety. Most significantly, it does so without destroying the pleasures of the Grindhouse. On the contrary it manages to question the experience while preserving its sense of fascination. And that is a very rare thing. * Mark Jancovich, Professor of Film and Television Studies, University of East Anglia, United Kingdom *Grindhouse sets a new standard for the study of exploitation cinema history. In a time when grindhouse aesthetics have become retro chic, this book moves us beyond the seedy, cult mythologies of grindhouse. Examining grindhouse cinema beyond myth and morality, beyond genre conventions or industrial norms, and even beyond the U.S. context, this collection takes a nuanced look at this complex body—no cadaver—of film history. The book demands that we interrogate how the turbulent racial, national and sexual politics of the 1960s to 1980s gave birth to a movement in cinema whose significance to the popular and film cultures of today cannot be underestimated. A tour de force and a must read for anyone interested in film on the (not so) perverse margins of cinema history. * Mireille Miller-Young, Associate Professor of Feminist Studies, University of California, Santa Barbara, USA *Table of ContentsTable of Contents Acknowledgments Introduction: 42nd Street, and Beyond Austin Fisher and Johnny Walker Chapter 1 Grinding out the Grindhouse: Exploitation, Myth and Memory Glenn Ward Chapter 2 Where Did We Come In?: The Economics of Unruly Audiences, Their Cinemas and Tastes, From Serial Houses to Grind Houses. Phyll Smith Chapter 3 Temporary Fleapits and Scabs’ Alley:The Theatrical Dissemination of Italian Cannibal Films in Melbourne, Australia Dean Brandum Chapter 4 Run, Angel, Run: Serial Production and the Biker Movie, 1966-72 Peter Stanfield Chapter 5 “The Smashing, Crashing, Pileup of the Century”: The Carsploitation Film Robert J Read Chapter 6 Cars and Girls (and Burgers and Weed): Branding, Mainstreaming, and Crown International Pictures’ SoCal Drive-in Movies Richard Nowell Chapter 7 From “Sex Entertainment for the Whole Family” to Mature Pictures: I Jomfruens Tegn and Transnational Erotic Cinema Kevin Heffernan Chapter 8 ‘Bigger Than A Payphone, Smaller Than A Cadillac’: Porn Stardom in Exhausted: John C Holmes The Real Story Neil Jackson Chapter 9 From Opera House to Grindhouse (And Back Again): Ozploitation In and Beyond Australia Alexandra Heller-Nicholas Chapter 10 Go West, Brother: the Politics of Landscape in the Blaxploitation Western Austin Fisher Chapter 11 Red Power, White Movies: Billy Jack, Johnny Firecloud, and the Cultural Politics of the “Indiansploitation” Cycle David Church Chapter 12 Sleazy Strip-Joints and Perverse Porn Circuses: The Remediation of Grindhouse in the Porn Productions of Jack the Zipper Clarissa Smith Select Bibliography Contributors

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