Film: styles and genres Books

Book SynopsisThe popular and critical successes of films like The Sixth Sense and The Ring and its sequels in the late 1990s led to an impressive international explosion of scary films dealing with ghosts. This book takes a close look at a number of those films from different countries, including the United States, Japan, South Korea, Spain, and Great Britain. Making a crucial distinction between these atmospheric films and conventional horror, Michael Walker argues that they are most productively seen as ghost melodramas, which opens them up to a powerful range of analytic tools from the study of melodrama, including, crucially, psychoanalysis.Trade Review"The bibliography and index are thorough and the illustrations are very good, well above the average in modern publishing = It is difficult to give a proper sense of this extensive study. It is certainly comprehensive up until the date of publication and the study of genre films from so many different cinemas is fascinating." - Keith Withall, mej (media education journal) , Issue 62, Winter 2017-18Table of Contents1. Introduction 2. Three major predecessors 3. The fallow years: an assortment of ghosts SEMINAL FILMS 4. Ghosts in the city 5. Ghosts in the machine 6. Schoolgirl angst 7. Childhood abuse EVOLUTION OF THE CYCLE 8. Generic developments 1: Messages from the dead 9. Spain and history 1: Politics and war 10. Hollywood reinflections 11. Asian variations 12. Generic developments 2: Ghosts in the woman's film 13. Ghosts and institutions 1: South Korea 14. Ghosts and institutions 2: The West 15. National variations 16. Anatomy of the ghost melodrama 17. Spain and history 2: The Franco legacy and the Catholic church 18. Return of the British ghost film 19. Recent US developments and conclusion Filmography Bibliography

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Book SynopsisThe release of No Time To Die in 2021 heralds the arrival of the twenty-fifth installment in the James Bond film series. Since the release of Dr. No in 1962, the cinematic James Bond has expedited the transformation of Ian Fleming's literary creation into an icon of western popular culture that has captivated audiences across the globe by transcending barriers of ideology, nation, empire, gender, race, ethnicity, and generation. The Cultural Life of James Bond: Specters of 007 untangles the seemingly perpetual allure of the Bond phenomenon by looking at the non-canonical texts and contexts that encompass the cultural life of James Bond. Chronicling the evolution of the British secret agent over half a century of political, social, and cultural permutations, the fifteen chapters examine the Bond-brand beyond the film series and across media platforms while understanding these ancillary texts and contexts as sites of negotiation with the Eon franchise.Trade ReviewWinner of the 2022 Best Edited Collection British Association of Film, Television and Screen Studies (BAFTSS) Award! "In der Gesamtschau sind es vor allem zwei Aspekte, die die hohe Qualität des Bandes ausmachen: Erstens ist die insgesamt sehr gute Abstimmung und Editierung der Beiträge durch einen Herausgeber zu erwähnen, der ein Kenner der televisuellen und filmischen Aspekte des Themas ist. Zweitens besticht im Gesamteindruck die ausnahmslos sehr hohe wissenschaftliche Qualität der Einzelstudien."- Nicole Falkenhayner, H-Soz-Kult, September 2021 "The Cultural Life of James Bond's unique array of viewpoints should serve as an inspiration for scholars in the field, while simultaneously offering future researchers a number of alternative angles through which Bond can be interpreted."- James Shelton, International Journal of James Bond Studies, Volume 4, Issue 1, Spring 2021 "This new collection gathers together high-quality, well-researched and cogently written chapters, and includes plenty of fresh approaches and new insights from a range of scholars working in complementary fields. [...] Pleasingly arranged and critically astute, the book offers some fascinating new perspectives that extend Bond scholarship. Every ‘Bondologist’ should own a copy."- Llewella Chapman, Journal of British Cinema and Television, Volume 18, Issue 2, April 2021 "One of the permanent gains we owe to "new Bond studies" is the notion that James Bond is far more mobile a signifier than previous generations of critics imagined. The Cultural Life of James Bond makes an invaluable contribution to this widened view of 007. Situating the films in a range of new contexts, this trove of essays uncovers previously ignored and even unexpected connections between Bond and such phenomena as black casting and performance, postfeminism, modernism, transnational geographies and taste cultures, and the development of film, television, video game, and music industries across the globe. This book doesn’t just remind us that Bond matters. It reminds us that Bond scholarship matters." - Colin Burnett, Washington University in St. Louis, author of The Invention of Robert Bresson: The Auteur and His Market (2017) "This book brings together a supremely talented group of scholars to interrogate 007 in new and innovative ways. The result is a fresh and timely re-examination of the James Bond phenomenon's complicated relationship with popular culture, global media, and transnational geopolitics. The Cultural Life of James Bond is a must-read for 007 scholars and fans alike." - Christoph Lindner, University College London, editor of The James Bond Phenomenon: A Critical Reader (2009)Table of ContentsAcknowledgements Introduction: Specters of 007, Jaap Verheul Part I Beyond Britain: The Transnational Configuration of the James Bond Phenomenon 1 The Forgotten Bond: The CBS Production of Casino Royale (1954), James Chapman 2 A Socialist 007: East European Spy Dramas in the Early James Bond Era, Mikolaj Kunicki 3 From Indianization to Globalization: Tracking Bond in Bollywood, Ajay Gehlawat 4 The Dead Are Alive: The Exotic Non-Place of the Bondian Runaway Production, Melis Behlil, Ignacio M. Sánchez Prado, and Jaap Verheul 5 Bond Rebooted: The Transnational Appeal of the Daniel Craig James Bond Films, Andrew Higson and Huw D Jones Part II Beyond the Hero: The Cultural Politics of 007 6 Paradoxical Masculinity: James Bond, Icon of Failure, Toby Miller 7 Femininity, Seriality, and Collectivity: Rethinking the Bond Girl, Moya Luckett 8 Market Forces: James Bond, Women of Color, and the Eastern Bazaar, Lorrie Palmer 9 Shaken, Not Stirred Britishness: James Bond, Race, and the Transnational Imaginary, Anna Everett 10 Global Agency between Bond and Bourne: Skyfall and James Bond in Comparison to the Jason Bourne Film Series, Seung-hoon Jeong Part III Beyond the Films: The Transmediality of the James Bond Franchise 11 James Bond and Art Cinema, Christopher Holliday 12 Branding 007: Title Sequences in the James Bond Films, Jan-Christopher Horak 13 Unlike Men, The Diamonds Linger: Bassey and Bond Beyond the Theme Song, Meenasarani Linde Murugan 14 Skyfall and Global Casino Culture, Joyce Goggin 15 Three Dimensions of Bond: Adaptive Fidelity and Fictional Coherence in the Videogame Adaptations of GoldenEye, Ian Bryce Jones and Chris Carloy Index

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Book SynopsisSparked by a groundbreaking Amsterdam workshop titled "Disorderly Order: Colours in Silent Film," scholarly and archival interest in colour as a crucial aspect of film form, technology and aesthetics has enjoyed a resurgence in the past twenty years. In the spirit of the workshop, this anthology brings together international experts to explore a diverse range of themes that they hope will inspire the next twenty years of research on colour in silent film. Taking an interdisciplinary approach, the book explores archival restoration, colour film technology, colour theory, and experimental film alongside beautifully saturated images of silent cinema.Trade ReviewLonglisted for the 2019 Kraszna-Krausz Best Moving Image Book Award! Joint Review: "The Colour Fantastic and Chromatic Modernity are undoubtedly two significant contributions to their growing sub-field. ... They promote a fastidious treatment of relevant key contexts, from aesthetic discourses and polemics to technological and cultural innovations. And yet, equally, they prove that insisting upon the complexity of this history and eschewing simple linear explanations is not to make it inaccessible to non-colour specialists - such is the profound impression of originality and scholarly necessity created by their consistently sophisticated argumentation and deftly articulated interventions." - Patrick Adamson, Frames Cinema Journal, No 17 (2020) "Reading this volume, I was taken with the passionate and relentless dedication to early film colour’s study spearheaded by a group of diverse and committed researchers over a span of decades. Their efforts "personalize" research and point to the growing cohort of human agents who make the expanding and transformational discourses about colour legible. This volume is an elegantly curated and timely contribution to the continuing scholarship on early cinematic colour and its relationship to 21st century material, visual, and digital cultures." - Denise Mok, Film & History 49.2Table of ContentsIntroduction Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakci, Sarah Street and Joshua Yumibe Prologue Questions of Colours: Taking Sides Peter Delpeut Non-Fiction and Amateur Cinema Fireworks and Carnivals: Natural Colour Processes in Italian Amateur Cinema Elena Gipponi Liminal Perceptions: Intermediality and the Exhibition of Non-fiction Film Liz Watkins Rough Seas and Waterfalls: Lyrical Colors in Silent-Era Nonfiction Film Jennifer Peterson Natural Colour Processes: Theory and Practice ‘Taking the color out of color’: Two-Colour Technicolor, The Black Pirate, and Blackened Dyes John Belton Why Additive? Problems of Colour and Epistemological Networks in Early (Film) Technology Benôit Turquety The Comedy of Colours: The slapstick potential of natural colour in Mack Sennett shorts Hilde D'haeyere Additive and Subtractive: Two Paths Towards Colour Frank Gray Intermediality and Advertising Rainbow Ravine: Color and Animated Advertising in Times Square, 1891- 1915 Kirsten Thompson Negotiating A World Of Color: Films Experiments And Intermedial Practices Natalie Snoyman Foregrounding objects: Advertising, moving images, and the role of colour in French 1920s visual culture Federico Pierotti Archiving and Restoration: Early Debates and Current Practices La Ligue du Noir et Blanc: French Debates on Natural Colour Film and Art Cinema 1926—1927 Bregt Lameris A Material-Based Approach to the Digitisation of Early Film Colours Barbara Flueckiger, Claudy Op den Kamp and David Pfluger Archival Panels (edited transcripts) Preservation, Restoration, Presentation and Policy Sonia Genaitay (BFI), Ulrich Ruedel (BFI and HTW / University of Applied Sciences, Berlin), Bryony Dixon (BFI), Annike Kross (EYE), Tina Anckarman and Tone Føreland (National Library of Norway), Thierry Delannoy and Benjamin Alimi (Digimage-Classics), Fumiko Tsuneishi (Austrian Film Archive), moderated by Giovanna Fossati Digital Restoration’ with Michelle Carlos (National Academy of Fine Arts in Stuttgart), Barbara Flueckiger, Claudy Op den Kamp and David Pfluger (DIASTOR project, University of Zurich), moderated by Giovanna Fossati. Authors’ Biographies Bibliography Acknowledgements

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Book SynopsisThis book presents the bold and original proposal to replace the general appellation of ‘world cinema’ with the more substantive concept of ‘realist cinema’. Veering away from the usual focus on modes of reception and spectatorship, it locates instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: ‘noncinema’, or a cinema that aspires to be life itself; ‘intermedial passages’, or films that incorporate other artforms as a channel to historical and political reality; and ‘total cinema’, or films moved by a totalising impulse, be it towards the total artwork, total history or universalising landscapes. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, proving that realism is timeless and inherent in cinema from its origin.Trade ReviewShortlisted for the 2022 Best Monograph British Association of Film, Television and Screen Studies (BAFTSS) Award! "Lúcia Nagib redefines realism not as a mere question of rhetoric or style, or a product of a certain age and place, but as a deep and steadfast commitment of filmmakers to an "ethics of the real" based on various forms of engagement with physical reality, which may include "passages" provided by the other arts. Her incisive theoretical arguments and finely nuanced close readings will change forever how we think of the unity of art and reality, or the role of intermediality in cinema."- Agnes Petho, Professor of Film Studies, Sapientia Hungarian University of Transylvania "With a rare combination of depth and range, Lúcia Nagib reframes the debate about realism in cinema by connecting it with a world cinema framework and looking at the work of directors as diverse as Abderrahmane Sissako, Edgar Reitz, Wim Wenders, Mizoguchi Kenji and Lucchino Visconti through the lens of the concept of intermediality. In this lucid and beautifully written tour de force of a book, Nagib offers fascinating new readings of classical works of cinema and extends an exciting invitation to film scholars and the broader public to think differently about possible new pathways to and through the history of film as an art form."- Vinzenz Hediger, Professor of Cinema Studies, Goethe Universität FrankfurtTable of ContentsList of Illustrations Acknowledgements Introduction Part I Non-cinema 1 The Death of (a) Cinema: The State of Things 2 Jafar Panahi's Forbidden Tetralogy: This Is Not a Film, Closed Curtain, Taxi Tehran, Three Faces 3 Film as Death: The Act of Killing 4 The Blind Spot of History: Colonialism in Tabu Part II Intermedial Passages 5 The Geidomono Genre and Intermedial Acting in Ozu and Mizoguchi 6 Intermedial History-Telling: Mysteries of Lisbon 7 Passages to Reality: The Case of Brazilian Cinema Part III Towards Total Cinema 8 The Reality of Art: Ossessione 9 Historicising the Story through Film and Music: An Intermedial Reading of Heimat 2 10 Total Cinema as Mode of Production Bibliography Index

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Book SynopsisHow do we experience disaster films in cinema? And where does disaster cinema come from? The two questions are more closely related than one might initially think. For the framework of the cinematic experience of natural disasters has its roots in the mid-eighteenth century when the aesthetic category of the sublime was re-established as the primary mode for appreciating nature's violent forces. In this book, the sublime is understood as a complex and culturally specific meeting point between philosophical thought, artistic creation, social and technical development, and popular imagination. On the one hand, the sublime provides a receptive model to uncover how cinematic disaster depictions affect our senses, bodies and minds. On the other hand, this experiential framework of disaster cinema is only one of the most recent agents within the historical trajectory of sublime disasters, which is traced in this book among a broad range of media: from landscape and history painting to a variety of pictorial devices like Eidophusikon, Panorama, Diorama, and, finally, cinema.Trade Review"Disaster Cinema in Historical Perspective: Mediations of the Sublime is a genuine and original contribution to the fields of art history and cinema studies as well as to discussions on the concept of the sublime in the field of aesthetics. It is well-organized, well-informed, and lucidly written and draws on an impressive body of empirical and theoretical materials. As importantly, it is critical and nuanced in its claims and assertions, leaving ample room for discussion and counter-argument." - Ina Blom, University of Chicago, University of OsloTable of ContentsI. Introduction Theories of the Sublime: Edmund Burke & Immanuel Kant The Archeology and Iconography of the Sublime Analyzing Disaster Movies The Disaster Movie Genre and the Film Selection Works Cited II. Starting Points Dutch Landscapes of the North Transforming the Sublime. From Rhetoric to Experiencing Nature Picturesque Views Lisbon Shock Waves Heroic Geology Commodifying Nature. Earth Economics & Tourism Works Cited III. The Iconography of the Sublime Virtual Windows. Claude Joseph Vernet at the Academy Salon Remarkable Views. Caspar Wolf in the Alps Volcano Montages: Derby, Valenciennes, Wutky, Volaire, Briullov Works Cited IV. Mediating the Sublime Between Art Academy and Entertainment Culture: Philippe Jacques de Loutherbourg Apocalypse Here-and-Now. John Martin 'The Viewer Feels as Though His Eyelids Had Been Cut Off'. Visiting the Panorama Panoramic Landscapes Through the Telescope: The Hudson River School Nature's Forces in Motion: The Diorama Works Cited V. Cinema - A Medium of the Sublime? Photographic Images in Motion Is the Sublime a Somatic Experience? Montage Camera Sound and Multimedia Cinema Works Cited VI. Disaster Cinema. A Historical Overview Disaster Films Between Documentary and Special Effects Newsreel Early Epics and Travel Genres Disaster Melodramas Disaster Diversity: the 1950s and 1960s 'Disaster Movies' and Nuclear Wastelands Digitally Painted Disasters Works Cited VII. The Sublime in Disaster Cinema Patterns of Violence, or, The Sublime as Somatic Excess 1. Mise en images 2. Montage 3. Camera Movement 4. Sound Points of Disinterest: Subjectivity Beyond Imagination: Transcendence 1. Chasing Phantoms. The Disaster-Time-Image 2. Last Line of Defense. Ethics 3. 'Hear God Howl' - Religion and Spirituality Modality, or, The Pleasure of the Sublime Border Conflicts. Presentability 'It Is Gonna Send Us Back to the Stone Age!' - The Geological Sublime Neighbor Relations: The Sublime and the Ridiculous What Lies Ahead? Hyperobjects and the Sublime Works Cited VIII. Bibliography IX. Index

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Book SynopsisIn the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the ‘long durée’ of the 20th century and into the 21st. By raising the issue of ‘beyond the essay film’, this collection seeks not only to acknowledge the influential predecessors of this — in the view of many critics, the most interesting type of contemporary filmmaking — but also to speculate about its possible transformation as we move forward into the uncharted waters of the 21st — digital — century. Beyond the Essay Film focusses on three specific axes that underpin and shape the articulation of the essay film as a specific cultural form — subjectivity, textuality, and technology — to explore how changes along and across these dimensions affect historical shifts within the essay-film practice and its relation to other types of cinema and neighbouring art forms.Table of ContentsContents Acknowledgements Introduction: A Tradition of Desiring Julia Vassilieva and Deane Williams 35 Years On: Is the 'Text', Once Again, Unattainable? Raymond Bellour (translated by Adrian Martin) To Attain the Text. But Which Text? Cristina ‰lvarez López & Adrian Martin Compounding the Lyric Essay Film: Towards a Theory of Poetic Counter-Narrative Laura Rascaroli "Every Love Story is a Ghost story": The Spectral Network of Laurie Anderson's Heart of Dog (2015). Deane Williams The Non-Linear Treatment of Disquisition - Multiscreen Installation as Essay. Ross Gibson Deborah Stratman's The Illinois Parables (2016): Intellectual Vagabond and Vagabond Matter Katrin Pesch Rethinking the Human, Rethinking the Essay Film: The Ecocritical Work of The Pearl (2016) Belinda Smaill Montage Reloaded: from the Russian Avant-Garde to the Audio-Visual Essay Julia Vassilieva 'All I Have to Offer is Myself": the Filmmaker as Narrator Richard Misek The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking. Catherine Grant On Making Memory Posthumously: The Home Movie as Essay Film Thomas Elsaesser Index

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Book SynopsisA prolific film industry has flourished on the banks of the Nile since the earliest days of cinema, producing movies that have been hugely popular and immensely influential not only in Egypt but across the Arab world. Concentrating on productions written and produced entirely in Egypt, Sameh Fathy—a film critic with an encyclopedic knowledge of the history of Egyptian cinema—here selects the 101 most important movies to come out of Cairo’s famous studios over the last eighty years. From classic comedies like Salam Is Fine to social dramas like The Second Wife, and from literary adaptations like Call of the Curlew to masterpieces of the cinematic art like The Night of Counting the Years, the author introduces us to each film’s writers, producers, directors, and stars, and explains the movie’s particular historical, cultural, or artistic significance. Illustrated throughout with posters and stills from all the movies covered.Trade Review"“Beautifully conceived and long overdue—well written with an authoritative voice . . . . There is nothing else like this available for an English-reading audience.”—Joel Gordon, University of Arkansas, ""Film institutions and the vast cinema audience can do no less than to reward the author of this work by acquiring a copy of this beautiful and important book.""—Mohamed Salmawy, al-Ahram"Table of Contents1. Salama fi kheir (Salama Is Fine) (1937) 2. al-`Azima (Determination) (1939) 3. Safir Guhannam (Ambassador to Hell) (1945) 4. Fatima (Fatima) (1947) 5. Ghazl al-Banat (The Flirtation of Girls) (1949) 6. Usta Hassan (Hassan the Master Craftsman) (1952) 7. Raya wa Sakina (Raya and Sakina) (1953) 8. Hamidu (Hamidu) (1953) 9. Sira’ fil Wadi (Struggle in the Valley) (1954) 10. al-Wahsh (The Beast) (1954) 11. Ga’alouny Mugriman (They Made Me A Criminal) (1954) 12. Hayat Aw Mawt (Life or Death) (1954) 13. Darb al-Mahabil (Alley of Fools) (1955) 14. Shabab Imra’a (Youth of A Woman) (1956) 15. Sira’ fil Mina (Struggle on the Pier) (1956) 16. Ayna `Omry (Where Did My Life Go?) (1956) 17. Raseef Nemra Khamsa (Platform No. 5) (1956) 18. al-Futuwwa (The Bully) (1957) 19. Inta Habibi (You Are My Love) (1957) 20. Tamr Henna (Tamr Henna) (1957) 21. Port Sa`id (Port Said) (1957) 22. al-Wisada al-Khaliya (The Empty Pillow) (1957) 23. La Anam (I Don’t Sleep) (1957) 24. Toggar al-Mawt (Merchants of Death) (1957) 25. Rudda Qalbi (Return My Heart) (1957) 26. Bab al-Hadid (Cairo Station) (1958) 27. al-Tareeq al-Masdood (The Closed Path) (1958) 28. Saher al-Nisaa’ (The Ladies’ Man) (1958) 29. Sultan (Sultan) (1958) 30. Shari` al-Hob (Love Street) (1958) 31. al-Akh al-Kabir (The Elder Brother) (1958) 32. Djamilah Bu-Hreid (Djamilahataba) (1958) 33. Imra’a fil-Tariq (Woman on the Road) (1958) 34. Ana Horra (A Free Woman) (1959) 35. al-`Ataba al-Khadra (Ataba Sqaure) (1959) 36. `Ashat lil-Hob (She Lived for Love) (1959) 37. Ihna al-Talamza (We, the Students) (1959) 38. Du’a’ al-Karawan (The Nightingale’s Prayer) (1959) 39. al-Radjul al-Thani (The Second Man) (1959) 40. Sira` fil Nil (Struggle on the Nile) (1959) 41. Law’at al-Hob (Agony of Love) (1960) 42. Souq al-Silah (Arms Market) (1960) 43. Bidaya wa Nihaya (Beginning and End) (1960) 44. Fi Baytina Radjul (A Man in Our House) (1961) 45. Dimaa’ `ala al-Nil (Blood on the Nile) (1961) 46. Tariq al-Domou` (Path of Tears) (1961) 47. La Tutfi’ Al Shams (Don’t Turn Out The Sun) (1961) 48. al-Khataya (Sins) (1962) 49. al-Zaudja Raqam 13 (Wife No. 13) (1962) 50. al-Liss wa-l-Kilab (The Thief and the Dogs) (1962) 51. al-Nasir Salah al-Din (Saladin the Victorious) (1963) 52. al-Naddara al-Sawdaa’ (Dark Glasses) (1963) 53. Om al-`Arusa (Mother of the Bride) (1963) 54. al-Aydi al-Na’emah (Soft Hands) (1963) 55. Bayn al-Qasrayn (Palace Walk) (1964) 56. al-Tariq (The Road) (1964) 57. al-Haram (Sin) (1965) 58. al-Mustahil (The Impossible) (1965) 59. Hareb min al-Ayyam (Fugitive from the Days) (1965) 60. Mirati Mudir `Am (My Wife, the Director General) (1969) 61. al-Qahirah 30 (Cairo 30) (1966) 62. al-Simman wal-Kharif (Quail in Autumn) (1967) 63. al-Zaudja al-Thaniya (The Second Wife) (1967) 64. al-Bustagi (The Postman) (1968) 65. al-Radjul allathi Faqada Zilluh (The Man Who Lost His Shadow) (1968) 66. Shay’ min al-Khof (A Touch of Fear) (1969) 67. Miramar (Miramar) (1969) 68. Bi’r al-Hirman (The Well of Privation) (1969) 69. al-Ard (The Land) (1970) 70. Ghurub wa Shuruq (A Sunset and a Sunrise) (1970) 71. al-Sarab (The Mirage) (1970) 72. Imra’ah wa Radjul (A Woman and a Man) (1971) 73. Tharthara Fauq al-Nil (Adrift on the Nile) (1971) 74. Zaudjati wa-l-Kalb (My Wife and the Dog) (1971) 75. Kelmet Sharaf (Word of Honor) (1972) 76. Qa’ al-Madina (Dregs of the City) (1974) 77. al-Mumya’ (The Mummy) (1975) 78. Uridu Hallan (I Want a Solution) (1975) 79. al-Karnak (The Karnak) (1976) 80. al-Mudhnibun (The Guilty) (1976) 81. al-Saqqa Mat (The Water Carrier is Dead) (1977) 82. Wa La Yazal al-Tahqiq Mustamirran (Investigation Still in Progress) (1980) 83. Ahl al-Qimma (People at the Top) (1980) 84. Maw’id `Ala al-`Ashaa’ (A Dinner Date) (1981) 85. al-`Ar (Shame) (1982) 86. Sawaq al-Utubis (The Bus Driver) (1982) 87. al-Harif (Street Player) (1983) 88. al-Bari’ (The Innocent Man) (1986) 89. al-Gou’ (Hunger) (1986) 90. al-Tawq wa-l-Iswirah (The Collar and the Bracelet) (1986) 91. Gary al-Wuhoosh (Wild Beasts) (1987) 92. Darbat Ma’allim (Masterstroke) (1987) 93. Zaudjat Radjul Mohem (The Wife of an Important Man) (1987) 94. Asdiqaa’ al-Shaytan (Friends with the Devil) (1988) 95. Qalb al-Layl (The Heart of the Night) (1989) 96. Ayyam al-Ghadab (Days of Rage) (1989) 97. al-KitKat (KitKat) (1991) 98. Inzaar bal-Ta’a (Obedience Law) (1993) 99. Tuyur al-Zalam (Birds of Darkness) (1995) 100. Afareet al-Asfalt (Demons of the Asphalt) (1980) 101. `Imarat Ya’qubyan (The Yacoubian Building) (2006)

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Book SynopsisThis book introduces a research method called ‘auto-teach(er)/ing-focused research,’ a research process that aims to document understandings generated by, and for the teacher when that teacher teaches or re-teaches a course. It demonstrates how this method is applied by the author/researcher within the pedagogical space that is the teaching of a course, one that has been taught numerous times by the author/researcher over many years. This book documents understandings about learning and teaching that have emerged within the pedagogical space that is the teaching of a course, and the pedagogical space that is the writing of a book. It explores the notion that pedagogical spaces are complex, and that subjects navigate and are produced within them in a multiplicity of ways. This book applies a research method that generates a knowledge product that research practitioners in a variety of settings might find useful to adopt or adapt.Table of ContentsBegin.- What is a school?.- Thinking about learning – before during and after.- What do learners do? Where, when and/or how does learning play out? Some ideas Michael Crowhurst and Michael Emslie.- Designing for learning – shorter time frames.- Designing for learning – longer time frames.- Learner multiplicities and learning spaces and events - assessing a dance Michael Crowhurst and Michael Emslie.- Theory towards expansion – generativities multiplicities Michael Crowhurst and Michael Emslie.- Theory towards expansion – dialogue emergence combinations.- Conclusion - complex spaces, learning events and learners.- Notes on the pedagogical space that is the book after inhabiting it – dis/orientations.

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Book Synopsis

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Book Synopsis

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Book Synopsis

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