Film scripts and screenplays Books

Book SynopsisThe work of acclaimed German artist Christoph Schlingensief spans three decades and a diverse range of fields, including, film, television, activism, opera, and theatre. Christoph Schlingensief: Art Without Borders is the first book to be published in English on Schlingensief’s groundbreaking, politically engaged body of work. Leading scholars in the field offer a critical assessment of Schlingensief’s hybrid practice, and an interview with Schlingensief himself provides the reader with insight into past and present projects. The book will be an essential resource for artists, curators, students, and academics in the fields of theater and performance studies, film studies, cultural studies, German studies, political activism, and art history.Table of ContentsForeword – Alexander Kluge Background, Inspiration, Contexts – Tara Forrest and Anna Teresa Scheer Chapter One: The Tunguska Manifesto: Schlingensief’s Critique of Film and the Restitution of Experience – Richard Langston Chapter Two: An Obscene Reckoning: History and Memory in Schlingensief’s Deutschlandtrilogie – Kristin T. Vander Lugt Chapter Three: Theatre of Self-Questioning: Rocky Dutschke, ’68, or the Children of the Revolution – Sandra Umathum Chapter Four: Passion Impossible or Man with a Mission: A Go! manesque Intervention – Anna Teresa Scheer Chapter Five: Putting the Public Sphere to the Test: On Publics and Counter-Publics in Chance 2000 – Solveig Gade Chapter Six: ‘Right now Austria looks ridiculous’: Please Love Austria! – Reforging the Interaction between Art and Politics – Denise Varney Chapter Seven: Productive Discord: Schlingensief, Adorno, and Freakstars 3000 – Tara Forrest Chapter Eight: The Fusion and Confusion of Art and Terror(ism): ATTA ATTA – Brechtje Beuker Chapter Nine: Media Play: Intermedial Satire and Parodic Exploration in Elfriede Jelinek and Christoph Schlingensief’s Bambiland – Morgan Koerner Chapter Ten: Schlingensief’s Animatograph: Time Here Becomes Space – Roman Berka Chapter Eleven: Citizen of the Other place: A Trilogy of Fear and Hope – Florian Malzacher Chapter Twelve: Blurring Boundaries/Changing Perspectives: An Interview with Christoph Schlingensief – Florian Malzacher

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Book SynopsisWhile postwar British cinema and the British new wave have received much scholarly attention, the misunderstood period of the 1970s has been comparatively ignored. Don’t Look Now uncovers forgotten but richly rewarding films, including Nicolas Roeg’s Don’t Look Now and the films of Lindsay Anderson and Barney Platts-Mills. This volume offers insight into the careers of important filmmakers and sheds light on the genres of experimental film, horror, rock and punk films, as well as representations of the black community, shifts in gender politics, and adaptations of television comedies. The contributors ask searching questions about the nature of British film culture and its relationship to popular culture, television, and the cultural underground.Trade Review'The essays in this highly stimulating collection reveal, clearly and persuasively, just how diverse, energetic and imaginative British cinematic creativity was during this rather maligned decade... In shining a bright light into one of the remaining dark corners in British cinema history Don’t Look Now is a welcome and extremely valuable contribution to the field.' -- Professor Duncan Petrie, University of York'Long overdue for a closer look, this volume provides a comprehensive, wide-ranging and stimulating range of new scholarship on British cinema and television in the 1970s.' -- Professor Sarah Street, University of BristolTable of ContentsIntroduction: Don’t Look Now? British cinema in the 1970s – Paul Newland Keynote Address, Don’t Look Now? Conference, University of Exeter, July 2007 – Sue Harper Stanley Baker and British Lion: a Cautionary Tale – Robert Shail Staccato and wrenchingly modern: reflections on the 1970s stardom of Glenda Jackson – Melanie Williams Alternative Film Exhibition in the English Regions during the 1970s – Vincent Porter Multiple Voices: The Silent Cry and artists’ moving image in the 1970s – William Fowler On the Margins: Anthony Simmons, The Optimists of Nine Elms and Black Joy – Josie Dolan and Andrew Spicer We know where we’re going, we know where we’re from: Babylon – Paul Newland The Power to Create Catastrophe: The idea of apocalypse in 1970s British cinema – Peter Hutchings ‘The "lack" and how to get it’: reading male anxiety in A Clockwork Orange, Tommy and The Man Who Fell to Earth – Justin Smith Hideous Sexy: The Eroticised Body and Deformity in 1970s British Horror Films – Peri Bradley Masculinity and deviance in British cinema of the 1970s: Sex, Drugs and Rock ‘n’ Roll in The Wicker Man, Tommy and The Rocky Horror Picture Show – E. Anna Claydon The last studio system: a case for British television films – Dave Rolinson ‘Pre-Sold to Millions’: The Sitcom Films of the 1970s – Adrian Garvey Class, Nostalgia and Newcastle: Contested Space in The Likely Lads – Paul Williams Hovis, Ovaltine, Mackeson’s and the Days of Hope debate – Amy Sargeant ‘What is there to smile at?’ Lindsay Anderson’s O Lucky Man! – John Izod, Karl Magee, Kathryn Mackenzie and Isabelle Gourdin Dead End and Private Roads: The 1970s films of Barney Platts-Mills Landscape in The Ruling Class – Mark Broughton Beneath the Surface: Nicolas Roeg’s Don’t Look Now – Andrew Patch

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Book SynopsisIn an era which has seen many forms of artistic creation becoming digitized, the practice of drawing, in the traditional sense, has remained constant. However, many publications about the relationship between drawing and thinking rely on discipline-dependent distinctions to discuss the activity’s function. Drawing: The Enactive Evolution of the Practitioner redefines drawing more holistically as an enactive phenomenon, and makes connections between a variety of disciplines in order to find out how drawing helps us understand the world. Instead of the finite event of producing an artefact, drawing is a process and an end in itself, through which the practitioner might gain self-awareness.By synthesizing enactive thinking and the practice of drawing, this volume provides valuable insights into the creative mind, and will appeal to scholars and practitioners alike.Table of ContentsPART I: THEORISING ABOUT THINKING AND DRAWING About thinking and drawing - the process rather than the artefact Moving from theory to practice - the methodological problem The relevance of Enactive Cognition to the practice of drawing Accessing enactive knowledge through the lived experience of the practitioner PART II: THE FIRST PHASE OF METHODOLOGY – USING THE EXPERIENCE OF OTHERS AS SUBJECT Experiential accounts of the activity of drawing by others - Marion Milner and Frederick Franck Interviewing drawing practitioners about how they think Making the decision to use drawing to investigate thinking PART III: THE SECOND PHASE OF METHODOLOGY – USING MY OWN EXPERIENCE AS THE SUBJECT OF A FIRST PERSON ENQUIRY 'Can I embody another artist’s thinking process by copying his drawing?' - Familiarisation with the method of copying The case studies of Richard Talbot and Oliver Zwink Four narratives about the experience of re-enacting Talbot’s drawing 'Glass' Observations about the method of Enactive Copying Where does one go from here?

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Book SynopsisIn recent years Greece and Spain have seen an influx of immigrants from nearby developing nations. And as their foreign populations grew, both countries' national medias documented the change and, in the process, shaped perceptions of the immigrant groups by their new countries and the world. Picturing Immigration offers a comparative study of the photojournalistic framing of immigrants in these two southern European nations. Going beyond traditional media analysis, it focuses on images rather than text to explore a host of hot topics, including media representation of minorities, immigration, and stereotypes. Table of ContentsIntroduction PART I Chapter 1: Theoretical Considerations: Media Images and Framing 1.1 The Visual (Re)turn 1.2 Image, Reality, Photojournalism 1.3 Media Stereotypes of the “Other” 1.4 Framing Theory 1.5 Visual Framing Chapter 2: Greece and Spain: Background Information 2.1 Overview of Migration History in Greece and Spain 2.2 Immigrants in Greece and Spain during the Period of Study (2005) 2.3 Immigration Policy in Greece and Spain 2.4 Historical and Social Background of Greece and Spain: History Economy Society Demographics Public Opinion and Immigrants Media and Migrants in Greece and Spain PART II Chapter 3: The Visual Representation of Immigrants 3.1 Frame A: The Immigrant as “Other” 3.2 Frame B: The Immigrant as “Threat” 3.3 Themes Chapter 4: Analysis 4.1 Frames and Schemata 4.2 Societies in Crisis: Immigration and Frames 4.3 Frames and the Media Chapter 5: Conclusion

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Book Synopsis Most discussions of health care center on medical advances, cost, and the roles of insurers and government agencies. With The Grey Zone of Health and Illness, Alan Blum offers a new perspective, outlining a highly nuanced theoretical approach to health and health care alike. Drawing on a range of thinkers, Blum explains how our current understanding of health care tends to posit it as a sort of state of permanent emergency, like the nuclear standoff of the Cold War. To move beyond that, he argues, will require a complete rethinking of health and sickness, self-governance and negligence. A heady, cutting-edge intervention in a critical area of society, The Grey Zone of Health and Illness will have wide ramifications in the academy and beyond.Table of ContentsIntroduction The Grey Zone as a primordial figure: Greek origins Ambiguity as a social phenomenon: Reshaping the Greeks The elemental vision of the split The official history and the unwritten text The relationship of knowledge to life The city of pigs as travesty Health and the city On being old The formula: Medicalization and its guises Prosthetics The recurrence of the body Moods of Being Conclusion

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Book SynopsisSince becoming the capital of reunited Germany, Berlin has had a dose of global money and international style added to its already impressive cultural veneer. Once home to emperors and dictators, peddlers and spies, it is now a fashion showplace that attracts the young and hip. Moving beyond descriptions of Berlin's fashion industry and its ready-to-wear clothing, Berliner Chic charts the turbulent stories of entrepreneurially-savvy manufacturers and cultural workers striving to establish their city as a fashion capital, and being repeatedly interrupted by politics, ideology, and war. There are many stories to tell about Berlin's fashion industry and Berliner Chic tells them all with considerable expertise.Table of ContentsIntroduction: Locating Berliner Chic Chapter One: Berliner Chic in Museums Chapter Two: Berliner Chic and Historiography Chapter Three: Berliner Chic Between Fashion and Photography Chapter Four: Berliner Chic on the Silver Screen Chapter Five: Berlin Calling: Sex and Drugs and Punk and Techno Chapter Six: Becoming Berlin: The Flux of Corporate Luxe Conclusion: Where Fashion Lives Today: Battleground Berlin

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Book Synopsis Theatre in Passing explores spaces of performance in contemporary Moscow. Inspired by French philosopher Michel de Certeau’s model of a "second, poetic geography" in which the walker—the everyday practitioner—invents the space observed by the voyeur, this book takes the reader on a tour of spaces of performance in contemporary Moscow. Through text and photography, the city’s "theatrical geography" is uncovered, from the Bolshoi Theater in Theater Square to hidden gems like the recently restored Kuskovo estate. With additional sections on street theater and other public gatherings, Theatre in Passing is a must-read book for anyone curious about the theatrical architecture and geography of Russia’s capital.Trade ReviewA fascinating and unconventional examination of the interrelationships of performance, geography, and everyday life in contemporary Moscow. -- Robert CraneThe ‘episodic’ nature of the publication allows the reader to dip in and out of random chapters, according to their wish. Particularly charming is the sense of real-ness that is conveyed. -- Justine Gill, Slavonic and East European ReviewTable of ContentsChapter 1: Destination Moscow Chapter 2: History as Carnival Chapter 3: The Big Picture Chapter 4: The Hermitage: Proceed with Caution Chapter 5: Zhivago in the Suburbs Chapter 6: Scenes from the Putsch Chapter 7: The Jump Chapter 8: Back to Versailles Chapter 9: Theatre Goes to the Museum Chapter 10: Dark Origins Chapter 11: The Last Mohican Chapter 12: From Meyerhold to Now Chapter 13: Shakespeare on Sretenka Chapter 14: Three Chekhovs Chapter 15: Is it Art? Chapter 16: Show Time Chapter 17: MXAT on the Rocks Chapter 18: Posing with Dolls Chapter 19: Adventure Chapter 20: Tverskoy Boulevard in the Winter Chapter 21: Birthday in Moscow Chapter 22: Summertime Chapter 23: Impossible in Nothing

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Book SynopsisRoosevelt’s New Deal introduced sweeping social, political and cultural change across the United States, which the Hollywood film community embraced enthusiastically. When the heady idealism of the 1930s was replaced by the paranoia and fear of the post-war years, Hollywood became an easy target for the anti-communists. A Divided World examines some of the important programs of the New Deal and the subsequent response of the Hollywood film community - especially in relation to social welfare, women’s rights and international affairs. The book then charts what happened in Hollywood when the mood turned sour as the Cold War set in. A Divided World also provides in-depth analysis of the major works of three European directors in particular – Billy Wilder, Ernst Lubitsch and Fritz Lang. The contributions of these three are compared and contrasted with the products of mainstream Hollywood. The author utilizes extensive new archival material to shed light on the production histories of the emigres' films. This is a new interpretation of an influential period in American film history and it is sure to generate debate and further scholarship.Table of ContentsIntroduction Chapter 1: Once upon a time in America: American society and culture, 1933-1948 Chapter 2: The keeper of the flame: Hollywood and the cinema of liberal idealism Chapter 3: Trouble in paradise: Hollywood films and American social change Chapter 4: The devil is a woman: Hollywood films and the American woman Chapter 5: The world changes: Hollywood and international affairs Conclusion

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Book SynopsisVolume 10 in the Trends in Functional Programming (TFP) series presents some of the latest research results in the implementation of functional programming languages and the practice of functional programming. It contains a peer-reviewed selection of the best articles presented at the 2009 Tenth Symposium on Trends in Functional Programming held in Komárno, Slovakia. TFP 2009 was co-located with the Third Central European Functional Programming School (CEFP 2009) and organized by the Department of Programming Languages and Compilers, Faculty of Informatics, Eötvös Loránd University, Budapest and the Selye János University, Komárno.

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Book SynopsisThis book is the first written by a film specialist to consider Stephen King’s television work in its own right, and rejects previous attempts to make the films and books fit rigid thematic categories. Browning examines what makes a written or visual text successful at evoking fear on a case-by-case basis, in a highly readable and engaging way. He also considers the relationship between the big and small screen. Why, for instance, are some TV versions more effective than movie adaptations and vice versa? In the process, Stephen King on the Small Screen is able to shed new light on what it is that makes King’s novels so successful and reveal the elements of style and approach that have helped make King one of the world’s best-selling authors.Trade Review 'A brilliant examination of the TV adaptations of Stephen King's books - beginning with my favourite, IT, it looks at the accuracy of the adaptations, the choice of actors, the direction, and the results. This is an utterly fascinating study of a literary icon and his treatment on TV. Superb, finely detailed and well written. A must-read for any King fan, and compliments the earlier Big Screen title by the same author. Outstanding.' – Booksmonthly.co.uk 'King adaptations in television are mostly mentioned in passing, if at all, even in those works proclaiming to analyse a wide range of material. Browning thus provides a platform for King’s television pieces to be discussed in their own right and outside of potentially restricting or distorting theoretical frameworks. ' – The Gothic Imagination 'A superb achievement and a great companion to Stephen King on the Big Screen, in fact so greatly do they complement each other that I recommend strongly the reader buy both.' – Destructive Music- Steve Earles

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Book Synopsis An innovative exploration of understanding through dance, Dancing across the Page draws on the frameworks of phenomenology, feminism, and postmodernism to offer readers an understanding of performance studies that is grounded in personal narrative and lived experience. Through accounts of contemporary dance making, improvisation, and dance education, Karen Barbour explores a diversity of themes, including power; activism; and cultural, gendered, and personal identity. An intimate yet rigorous investigation of creativity in dance, Dancing across the Page emphasizes embodied knowledge and imagination as a basis for creative action in the world.Table of ContentsChapter 1: Being: Introductions Chapter 2: Becoming: Feminist Choreography and Dance Research Chapter 3: Dancing Across the Page: Representing Research Through Narrative Chapter 4: Dreaming Yourself Anew: Choreographic Strategies in Women’s Solo Chapter 5: Knowing Differently, Living Creatively: Embodied Ways of Knowing Chapter 6: Standing Strong: Pedagogical Approaches to Affirming Identity Chapter 7: Improvising: Dance and Everyday Life Chapter 8: Performing Identity: Tattoos, Dreadlocks and Feminism in Everyday Life Chapter 9: Imaginings: Reaching for a Vision

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Book SynopsisCultural production as we know it has been undergoing significant restructuring. In an effort to compensate for the global decline in economic growth, governments and corporations have begun to seriously consider the creative fields as markets that can be stimulated through venture capital and regional development initiatives. Along with the neoliberalization of cultural institutions, a conservative agenda that is buttressed by a war economy confronts critics and activists with the repressive forms of state censorship and police control. From art collectives to the US-led war on terror, from cultural contestation to neoliberal governmentality and from alter-global anti-capitalism to the creative industries, this collection of essays examines the issues and politics that have marked cultural production in the first decade of the twenty-first century. In the context of a proliferation of socially engaged art practices and the interventions of autonomous art collectives, Culture and Contestation in the New Century presents the viewpoints of leading international artists and intellectuals working in the fields of critical and cultural theory. After the impasse of a postmodern post-politics ‘beyond left and right’, what are the possibilities for a radical politicization of cultural discourse? How has oppositionality shifted away from identity and difference, as well as social constructionism, to consider the universal determinations of contemporary neoliberal capitalism? These essays present a number of untimely reflections on the conditions of contemporary cultural practice, subjectivity and political dissidence, making new connections between cultural production, politics, economics and social theory. Simply stated, the book provides an account of the current interface between art and politics.Table of ContentsIntroduction: Doing the unexpected, creating the present – Marc James Léger PART I: Critical Cultural Practice Chapter 1: Hans Haacke and the art of not being governed quite so much – Rosalyn Deutsche Chapter 2: Counting on your collective silence: Notes on activist art as collaborative practice – Gregory Sholette Chapter 3: Neo-liberalism with Dutch characteristics: The big fix-up of the Netherlands and the practice of embedded cultural activism – BAVO PART II: Creative Labour and Creative Industries Chapter 4: ‘Everyone is creative’: Artists as pioneers of the new economy? – Angela McRobbie Chapter 5: Creative industries as mass deception – Gerald Raunig Chapter 6: Creative industries: Neo-liberalism as mass deception – Aras Ozgun PART III: Neoliberal Governmentality and Cultural Resistance Chapter 7: Not so quiet on the western front: A report on risk and cultural resistance within the neo-liberal society of fear – Critical Art Ensemble Chapter 8: From reaching Heiligendamm: An interview with Oliver Ressler – Marc James Léger Chapter 9: 1½ Métro Côte-des-Neiges: Do they owe us a living? – Mathieu Beauséjour PART IV: Subjectivity in the Age of Post-Politics Chapter 10: Anonymous monuments to ordinary man and woman: The strange case of Berlin’s Ampelmännchen – David Tomas Chapter 11: Giorgio Agamben’s homo sacer III and the status of the other – Bruce Barber Chapter 12: On the permanent actuality for revolutionary cultural politics of President Mao Ze Dong’s slogan ‘long live the great proletarian cultural revolution’ – Slavoj Žižek

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Book SynopsisRed Sun and Merlin Unchained are the most recent original stage works by one of the most acknowledged yet neglected dramatists of our time. Red Sun is a two-hander, tightly tethered within the classical unities of theme and space and the span of a single day. Merlin Unchained is an explosive, multitudinous epic, crossing continents and centuries and passing between worlds. Yet though technically so contrasting, both works speak with the same distinctive voice, offering an exhilarating and sometimes disturbing challenge to the cultural and political perceptions of a contemporary audience, and exploring alien worlds that, alarmingly, begin to become recognizable as our own. Trade Review“David Rudkin is an odd man out amongst modern British dramatists. His plays … are a unique blend of ritual and realism, of Artaudian imagery and bloodshot language..” Guardian “… the finest language to be heard in the theatre today…” Times Literary Supplement “[Rudkin] explores the connection between the inner recesses of the personality and social and political forms with a courage that no one else has.” Listener “ … a fierce, uncompromising, obsessive writer…” Guardian “ … our greatest dramatic poet…” ObserverTable of ContentsRed Sun: Dramatist’s Foreword – David Rudkin RED SUN Red Sun and the Promise of Myth – Karoline Gritzner Merlin Unchained: Dramatist’s Foreword – David Rudkin MERLIN UNCHAINED ‘Broken Magic?’: A Director’s Perspective on Merlin Unchained – David Ian Rabey ‘Only a Bard’: The Theatre of David Rudkin – Robert Wilcher

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Book SynopsisUrban Cinematics surveys the mechanisms by which cinema contributes to our understanding of cities to address two key issues: How do filmmakers make use of urban spaces, and how do urban spaces make use of cinema? Merging the disciplines of architecture, landscape design, and urban planning with film studies, this book explores the potential of cinema as a tool to investigate the communal narratives of cities. A series of dialogues with filmmakers rounds out this insightful and methodologically innovative volume.Table of ContentsIntroduction – François Penz and Andong Lu Part I: City symphonies: Montaged urban cinematic landscapes Chapter 1: Ciné-City strolls: Imagery, form, language and meaning of the city film – Helmut Weihsmann Chapter 2: I am here, or, the art of getting lost: Patrick Keiller and the new city symphony – Patrik Sjöberg Chapter 3: Get out of the car: A commentary – Thom Andersen Part II: Cinematic urban archaeology Chapter 4: Aids to objectivity? Photography, film and the new ‘science’ of urbanism – Nicholas Bullock Chapter 5: Which role for the cinema in a working-class city: The case of Saint-Etienne – Roger Odin Chapter 6: A film of two cities: Sean Connery’s Edinburgh – Murray Grigor Chapter 7: Film as re-imaging the modern space – Mark Lewis Part III: Geographies of the urban cinematic landscape Chapter 8: Mobility and global complexity in the work of Van der Keuken – Hing Tsang Chapter 9: From maps of ‘progress’ to crime maps (and back again?): The plasticity of the aerial shot in Mexican urban film – Celia Dunne Chapter 10: Night on Earth, urban wayfinding and everyday life – Andrew Otway Part IV: The cinematic in the urban Chapter 11: Sleepwalking from New York to Miami – Alison Butler Chapter 12: Film in our midst: City as cinematic archive – Rachel Moore Chapter 13: Parkour vision – Layla Curtis Part V: Cinematic urban design practice Chapter 14: Urban anagram: A bio-political reflection on cinema and city life – Maria Hellström Reimer Chapter 15: Reconsidering cinematic mapping: Halfway between collected subjectivity and projective mapping – Marc Boumeester Chapter 16: Mapping urban space: Moving image as a research tool – Wowo Ding Chapter 17: The moving image of the city: Expressive space/inhabitation/narrativity: Intensive studio workshop on 'Continuity of Action in Space' – Maureen Thomas

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Book SynopsisFollowing the success of prominent feature films shot on location, including Tolkien’s wildly popular The Lord of the Rings, New Zealand boasts an impressive film tourism industry. This book examines the relationship between New Zealand’s cinematic representation—as both a vast expanse of natural beauty and a magical world of fantasy on screen—and its tourism imagery, including the ways in which savvy local tourism boards have in recent decades used the country’s film representations to sell New Zealand as a premiere travel destination. Focusing on the films that have had a strong impact on marketing strategies by local tourist boards, Touring the Screen will be of interest to all those working and studying in the fields of cinema, postcolonial history, and tourism studies.Table of ContentsIntroduction Early New Zealand Films and Western Voy(ag)eurs 1940–90: New Zealand Film Landscapes for Prospective ‘Cinenauts’ The Legacy of the Piano: Film-Tourist Geographies and the Aesthetic of the Sublime From Ngati to Whale Rider: The Filmic Journey of the Indigenous Traveller From Mt. Fuji To Mt. Taranaki: Dépaysement and Celebrity Worship in the Last Samurai ‘Welcome to New Zealand, Home of Middle Earth’: Heterotopian Impulse, Western Anxiety and Spatial Identity in The Lord Of The Rings Conclusions

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Book SynopsisBe they period films, cult classics or elaborate directorial love letters, New York City has played – and continues to play – a central role in the imaginations of filmmakers and moviegoers worldwide. The stomping grounds of King Kong, it is also the place where young Jakie Rabinowitz of The Jazz Singer realizes his Broadway dream. Later, it is the backdrop against which taxi driver Travis Bickle exacts a grisly revenge. The inaugural volume in an exciting new series from Intellect, World Film Locations: New York pairs incisive profiles of quintessential New York filmmakers – – among them Woody Allen, Martin Scorsese, Sidney Lumet and Spike Lee – with essays on key features of the city’s landscape that have appeared on the big screen, from the docks to Coney Island, Times Square to the Statue of Liberty. More than forty-five location-specific scenes from films made and set in New York are separately considered and illustrated with screen shots and photographs of the locations as they appear now. For film fans keen to follow the cinematic trail either physically or in the imagination, this pocket-sized guide also includes city maps with information on how to locate key features.Trade ReviewAn elegant tribute to the films and locations that have given New York its private real estate in our minds. The contributors are so immediately readable and movie-savvy. -- Roger EbertThese insightful, entertaining essays about classic films and the role their real-life New York locations play in them remind you why the city has been the setting for some of the greatest stories in the history of cinema. New York can be anything. It's a city of opulence and squalor, of magic and gritty realism. For anyone who loves the movies and loves New York, this book is a must. For anyone who doesn't... what the hell is wrong with you? -- Don Payne, screenwriter of Thor, writer/consulting producer of The SimpsonsI knew the joy of New York long before I ever visited the city. The Godfather, The Apartment and Breakfast at Tiffany's all introduced me to the cinematic scope of one of the world's most vibrant cities. This book reminds me of that joy. -- Hardeep Singh Kohli, comedian and novelistNot just an invaluable resource but a great read. The sort of book you can dive into again and again, revisiting some of the most classic depictions of the greatest city in the world. The only question is this: do you keep it on your desk, atop a coffee table, or on the nightstand? -- Elizabeth Weitzman, Film Critic, NY Daily NewsTable of ContentsMaps/Scenes Scenes 1-7 – 1927-1948 Scenes 8-14 – 1949-1971 Scenes 15-21 – 1972-1976 Scenes 22-28 – 1977-1986 Scenes 29-36 – 1987-1992 Scenes 37-44 – 1999-2008 Essays New York: City of the Imagination – David Finkle New York’s Leading Lady: The Statue of Liberty on Film – Simon Kinnear On The Waterfront: The New York Docks Onscreen – Peter Hoskin Manhattan Man: Woody Allen’s Love Affair with New York – Scott Jordan Harris Cinema 16: New York and the Birth of Beat – Peter Hoskin Mean Streets: Martin Scorsese’s NY – Wael Khairy The Innocents: A Promised Land Within a Promised Land – Elisabeth Rappe

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Book SynopsisAn exciting and visually focused tour of the diverse range of films shot on location in London, World Film Locations: London presents contributions spanning the Victorian era, the swinging ’60s and the politically charged atmosphere following the 2005 subway bombings. Essays exploring key directors, themes and historical periods are complemented by reviews of important scenes that offer particular insight into London's relationship to cinema. The book is illustrated throughout with full-colour film stills and photographs of cinematic landmarks as they appear now – as well as city maps to aid those keen to investigate them.Trade ReviewHandsome and intriguing, like an elegant ghosthunter's companion to a world that is - and isn't -there. -- Francine StockA superb book, indispensable for any cinephile interested in London's psychogeography. I could pore over it for hours. * Peter Bradshaw *These full-colour, hardy paperbacks will attract a wide readership because of the packaging of good quality content into self-contained, easily digested chunks. -- Lynn Smailes * Screening the Past *Table of ContentsMaps/Scenes Scenes 1-8 – 1927-1951 Scenes 9-16 – 1951-1966 Scenes 17-24 – 1966-1978 Scenes 25-32 – 1980-1997 Scenes 33-40 – 1997-2002 Scenes 41-50 – 2003-2009 Essays London: City of the Imagination – Neil Mitchell Victorian London: A Painterly Vision of the City Divided – Virginie Sélavy Ealing Studios: A Brief History of the Mecca of British film – Scott Jordan Harris Swinging London: Their Texts Are Loud But Never Square – James Evans Going Underground: Strange Goings On Down Below... – James Rose Richard Curtis: A Glamorized and Idealized London – Robert Beames Thames Tales: Stories by the Riverside – Jez Conolly

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Book SynopsisThe heart of Hollywood’s star-studded film industry for more than a century, Los Angeles and its abundant and ever-changing locales – from the Santa Monica Pier to the infamous and now-defunct Ambassador Hotel – have set the scene for a wide variety of cinematic treasures, from Chinatown to Forrest Gump, Falling Down to the coming-of-age classic Boyz n The Hood. This volume marks an engaging citywide tour of the many films shot on location in this birthplace of cinema and the screen spectacle. World Film Locations: Los Angeles pairs fifty incisive synopses of carefully chosen film scenes – both famous and lesser-known – with an accompanying array of evocative full-colour film stills, demonstrating how motion pictures have contributed to the multifarious role of the city in our collective consciousness, as well as how key cinematic moments reveal aspects of its life and culture that are otherwise largely hidden from view. Insightful essays throughout turn the spotlight on the important directors, thematic elements and historical periods that provide insight into Los Angeles and its vibrant cinematic culture. Rounding out this information are city maps with information on how to locate key features, as well as photographs showing featured locations as they appear now. A guided tour of the City of Angels conducted by the likes of Robert Altman, Nicholas Ray, Michael Mann and Roman Polanski, World Film Locations: Los Angeles is a concise and user-friendly guide to how Los Angeles has captured the imaginations of both filmmakers and those of us sitting transfixed in theatres worldwide.Trade ReviewEach of the chapters/Scenes is followed by a succinct but authoritative essay that explores a significant aspect of filmmaking pertinent to the city. -- Lynn Smailes * Screening the Past *Table of ContentsMaps/Scenes Scenes 1-8 – 1923-1955 Scenes 9-16 – 1955-1977 Scenes 17-24 – 1978-1991 Scenes 25-32 – 1991-1994 Scenes 33-41 – 1994-1998 Scenes 42-50 – 1998-2011 Essays Los Angeles: City of the Imagination – Michael S Duffy California Slapstick: On Location Film-Making Gets Rolling – Nicola Balkind Black Dynamite: Film Noir and Los Angeles in the Shadows – Andrew Spicer Getting Played: Hollywood, South Central and the Space Between – Benjamin Wiggins Welcome to Hell-A – Martin Zeller-Jacques Living in A Mann's World: Michael Mann’s L.A. – Wael Khairy Eurovisions: Alternative Views of the Hollywood Landscape – Michael S Duffy

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Book Synopsis'We’ll always have Paris,' Humphrey Bogart assures Ingrid Bergman in the oft-quoted farewell scene from Casablanca in which Bogart’s character, hard-hearted restaurateur Rick Blaine, bids former lover Ilsa Lund goodbye. The backdrop against which they first fell in love, Paris later serves as a reminder of their deep mutual longings. And with a host of different realisations by filmmakers from Philip Kaufman to Julien Leclercq to Woody Allen, there is no question that Paris has likewise endured in the memories of cinephiles worldwide. World Film Locations: Paris takes readers on an unforgettable tour of the City of Lights past and present through the many films that have been set there. Along the way, we revisit iconic tourist sites from the Eiffel Tower – whose stairs and crossbars inspired more than one famous chase scene – to the Moulin Rouge overlooking the famously seedy Place Pigalle. Other films explore lesser-known quarters usually tucked away from the tourist’s admiring gaze. Handsomely illustrated with full-colour film stills and contemporary photographs, more than fifty scenes are individually considered with special attention to their use of Paris’s topography as it intersects with characters, narrative and plot. A host of important genres and cinematic movements are featured, including poetic realism, the New Wave, cinéma-verité, the literary works of the Left Bank Group, and Luc Besson’s slickly stylised cinéma du look. Meanwhile, essays foreground contributions from Francophone African directors and émigré filmmakers. For centuries, Paris has reigned over the popular imagination. For those who have visited or those who have only imagined it through art, literature and film, World Film Locations: Paris presents a wonder-filled cinematic exploration of the mythical city that fans of French cinema – and new initiates – will appreciate.Trade Review''Marcelline Block’s superbly edited collection explores the most important movie city in the world, examining the myriad ways in which filmmakers have celebrated its iconic glories, peered into its shadowy corners, roamed through quartiers old and new, and chronicled its protean moods and atmospheres in films ranging from romance and comedy to poetic realism and science fiction. In its film-historical sweep, its blend of words and images, and the diversity of views presented by its contributors, the volume shows why Vive la Paris! and Vive le cinéma! have been synonymous since the earliest days of film.'' – David Sterritt, Author of The Films of Jean-Luc Godard: Seeing the Invisible 'Marcelline Block has just published her edited collection of essays—World Film Locations: Paris—in which each writer turns the imagination on Paris, which in 20th (and, to an extent) 21st century filmmaking, became the object of desire (nothing obscure about it) of film noir, nouvelle vague, émigré cinema, auteur film, African-American directorship and other cinematic tendencies. All of them—no matter what star, director, genre you think of—turned the cinematic lamps on the arche-star, Paris itself. In this volume, every film of the era you can name—Les enfants du paradis, A bout de souffle, Paris qui dort (it would exhaust the space allotted to continue)—is brilliantly, quirkily, outlandishly treated by established and emerging film theorists. Beware: if you read this book, it will water your eyes for the lumières forever unplugged.' – Marshall Blonsky, Author most currently of the volume Apocalypse, Inc. 'As a reference book or as a guide book for film fans heading for Paris this year it is perfect.' – Charlie Mansfield, University of Plymouth Journal of Tourism Consumption and Practice, vol. 4, no. 2, 2012 'A lavishly illustrated guide ... will provide pleasure for French film buffs and other seasonal film-goers, as well as visitors to Paris.' – Carrie Tarr for Modern & Contemporary France 'This series gathers together a wonderful collection of cinematic moments that rise up out of the city and re-inscribe it with new ways of seeing' – Sarinah Masukor for Screening the PastTable of ContentsEssays Paris: City of the Imagination – Keith Reader Paris in the Films of Alice Guy-Blaché (1896–1907) – Alison McMahan 'A Parisian Pari': Agnès Varda’s Cléo de 5 à 7 – Georgiana M.M. Colvile City of Light, City of Darkness: Paris in Francophone African Films – Françoise Pfaff Émigré Film-makers in 1930s Paris – Alastair Phillips La Bella Città: Paris Through the Lens of Italian Directors – Giovanna Summerfield Remaking the Cinematic City: Claire Denis' Paris – Malini Guha

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Book SynopsisThis book discusses spaces of performance from formal opera houses to parks and graffiti around the world and is a companion to Theatre in Passing: A Moscow Photo-Diary. Drawing once again on Michel de Certeau’s notion of a 'second poetic geography', this new volume examines prominent theatrical destinations – New York, London, and Paris – along with others that are often overlooked, including Canada, Mexico and Turkey. In addition to indoor theatres, the book covers a variety of outdoor theatrical spaces, as well as street theatre. Like its predecessor, Theatre in Passing 2 is richly illustrated with photographs by the author and provides fascinating insights on the intersection of performing arts, visual culture and photography.Table of ContentsCafé Uncle Vanya Manhattan Street Signs Paris Eisenstein’s Lucky Finds Montage of Attractions Milan Surrogate Possessions London Digital Berlin Disposable Memories Helsinki Hide and Seek Brussels Antwerp Writing on Walls Vancouver in Plain Air Alberta Outdoor Challenge Central Park Performing Nature Aspendos Weight of History Mexico Tender and Brutal Jaffa Art of Seating Umbrellas of Versailles Paris Opera Zone of Business Corporate Arts Toronto Ice Theatre Ottawa Drama Queen Montreal LA Lights Las Vegas Mirage South Bank Beyond Shakespeare Overlooked Pigalle Vienna Noir Blue Door Havana Fringe Edmonton Counting to Ten with Nabokov Broadway Backstage Christmas in London

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Book SynopsisJill Nelmes is Senior Lecturer at the University of East London, UK. She is the author of Writing the Screenplay, founder of The Journal of Screenwriting, and editor of An Introduction to Film Studies and Analysing the Screenplay. She studied screenwriting at UCLA, has been a script reader in Hollywood, and has had a number of feature length screenplays in development.

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Book SynopsisWritten in the early fifties when Rattigan was at the height of his powers, The Deep Blue Sea is a powerful account of lives blighted by love - or the lack of it. Special film tie-in edition published alongside the release of The Deep Blue Sea film (2011), starring Rachel Weisz and Tom Hiddleston.

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Book SynopsisIn 1997, a BAFTA award-winning British film about six out of work Sheffield steelworkers with nothing to lose took the world by storm. And now they’re back, live on stage, only for them, it really has to be The Full Monty. Simon Beaufoy, the Oscar-winning writer of the film, has now gone back to Sheffield where it all started to rediscover the men, the women, the heartache and the hilarity of a city on the dole. The Full Monty was the winner of the UK Theatre Best Touring Production award 2013.Trade Review"'The Full Monty has been reborn as an uproariously entertaining Eighties-set play - West End producers are dying to get their mitts on it, and small wonder - Every inch a whopping hit' The Telegraph 'Darkly joyous - this play could have rested on its laurels as sure-fire house filler in its home city. But instead it provides a brilliantly entertaining night out which was rapturously received [with] a strenuous and richly-deserved standing ovation, sending hundreds of theatregoers spilling out into the streets laughing and happy... Chuffing brilliant.' Independent 'Screen-to-stage adaptations are two a penny, but Simon Beaufoy's play, inspired by his own screenplay for the 1997 movie - is the full Monty in more than one sense. It's a raucous and touching piece of popular theatre that captures the mood of the 1980s, when a generation of men realised that their jobs-for-life in the steel industry were gone, and they were on the scrap heap - this is a show with a heart the size of Sheffield. It's a total blast.' Guardian 'Enjoyably fresh - It all, of course, culminates in the big strip of the title - But by now the men have revealed far more of themselves to ensure the ongoing popularity of this story and the warm glow of enjoyment that palpably spreads around the audience.' The Stage"

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Book SynopsisTranslation and film adaptation of theatre have received little study. In filling that gap, this book draws on the experiences of theatrical translators and on movie versions of plays from various countries. It also offers insights into such concerns as the translation of bilingual plays and the choice between subtitling and dubbing of film.Trade ReviewThis book is a perfect blend of translation theory and practice. It is a good guide for practitioners as well as beginners. Others who take an interest in drama and film translation will find a wealth of interesting insights. * Xu Jianzhong, Perspectives Volume 13:4 *The practical suggestions to theatre translators and the in-depth realistic illustrations the book provides are informative and unprecedented. The later part of the book is distinguished in probing into various unexplored areas regarding theatrical translation, while the earlier part excels in providing sound practical advice to theatrical practitioners. Both directions are potential areas for further pursuit and the effort in addressing these neglected areas in this book is highly appreciated. * Ka-Wai Young, LinguistList 17.721 *Table of ContentsPreface 1. In Theatrical Translation, There is No Lack of Conflict 2. Out of the Shadows: The Translators Speak for Themselves 3. Networking: Collaborative Ventures 4. Practical Approaches to Translating Theatre 5. Variations on the Bilingual Play Text 6. Titling and Dubbing for Stage and Screen 7. On and Off the Screen: The Many Faces of Adaptation 8. From Stage to Screen: Strategies for Film Adaptation Appendix: Questionnaire for Theatrical Translators Bibliography Index

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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