Film: styles and genres Books

Book SynopsisExplores American horror remakes produced since 2000 within key cultural, industry and reception contexts

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Book SynopsisThis book offers a new interpretation of Ozu Yasujiro's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence.

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Book SynopsisThe Pulse in Cinema acknowledges that the pulse is felt in the body, yet also argues that the pulse has a wider reaching effect in cinema than simply the physiological response of the spectator to the image it's the affective force in cinema.

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Book SynopsisReconsiders contemporary Disney animation through the critical lens of genre theoryTrade Review"Benhamou's book offers a thorough and much needed critical exploration of contemporary animation from Disney and its competitors. Drawing on a multidisciplinary framework from genre to post-feminism through an animation studies lens, Benhamou offers the reader a well-considered, and very well written account of some of the key debates in screen studies." -Nichola Dobson, University of Edinburgh

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Book SynopsisBringing together Murdoch's moral philosophy and contemporary cinema to build a dialogue about vision, ethics and love, author Lucy Bolton encourages us to view cinema as a way of studying other worlds and moral journeys.

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Book SynopsisExplores the production issues and cultural contexts of Hammer's unmade filmsTrade Review"Hammer Films is known the world over for its trailblazing, full colour, gothic horror films. Yet, despite its iconic status it failed to get many a project off the ground. In Hammer Goes to Hell, Kieran Foster explores a number of these projects. Drawing on new research, Foster offers a lively and engaging revisionist history bursting with new information and insight." -Johnny Walker, Author of Contemporary British Horror Cinema: Industry, Genre and Society and Editor of Hammer and Beyond: The British Horror Film.

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Book Synopsis An auteur and the creator of multiple cinematic universes, James Wan has become one of the most successful directors in history, his films breaking box office records worldwide. Yet there is little scholarship on Wan''s work. This collection of new essays fills the gap with contributions from around the globe offering analysis of his film and television productions, including Saw (2004), Aquaman (2018) and The Conjuring Universe franchise, along with less well-known works like Death Sentence (2007), Dead Silence (2007) and his pilot for the new MacGyver series. For the first time, Wan''s films are explored in-depth from wide range of critical perspectives.Table of ContentsAcknowledgmentsIntroduction: James Wan, Auteur Fernando Gabriel Pagnoni Berns and Matthew EdwardsMigratory Anxieties and Diasporic CommunitiesInsidious Identity Politics: The Horror of Home Rebecca Wynne-WalshAquaman as ­Meta-Utopia: A Nozickian Reading Adam LovaszOccupy and Replace: A Migratory Reading of Possession in The Conjuring 2 and Annabelle: Creation Shastri AkellaAquaman and American White Supremacy Luis A. Grande BrangerA Gendered Cinema of Violence and HorrorMake Technology Suffer: The Hypermasculine in Death Sentence, Furious 7 and MacGyver Fernando Gabriel Pagnoni BernsState of Exception in Saw and Death Sentence: Choose Your Type of Antihero Emiliano AguilarThe Absent/Omnipresent Female Voice in Dead Silence Fernando Gabriel Pagnoni BernsWan and the Classical (New) Horror FilmJames Wan's Dead Space: The Conjuring Films, Siegfried Kracauer and the Revenge of Physical Reality Joshua SchulzeChromatic Hauntings: The Uncanny Color Design of James Wan's Horror Films Cody ParishSuburban Gothic and Cosmic Horror in Insidious Elisabete Cristina Simões Lopes"Do you want to play hide and clap?" The Jump Scares of James Wan's Supernatural Horror Films Brandon R. GrafiusAbout the ContributorsIndex

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisAn eye-popping, entertaining visual history of zombie films written by six-time Bram Stoker Award-winning author Lisa Morton

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Book SynopsisA History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars.The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustratTrade ReviewBy reconfiguring and expanding upon Bondanella’s original work, both authors have ensured that A History of Italian Cinema remains relevant and necessary as Italy’s cinemascape continues to evolve. It is, therefore, a piece of scholarship akin to that which it describes, adapting to waves of the present while grasping to the roots of its past. * Historical Journal of Film, Radio and Television *Peter Bondanella's masterly A History of Italian Cinema was a monument to a lifetime of passionate scholarly engagement with the films and film-makers of the peninsula. This second edition, revised and expanded with Federico Pacchioni, integrates new themes and takes full account of the latest approaches to the history of Italian cinema. It will be an indispensable reference work for academics, students and general readers for years to come. * Stephen Gundle, Professor of Film and Television Studies, University of Warwick, UK *This new edition of History of Italian Cinema is the most comprehensive, insightful and appealing book on the subject. Ideal for teaching a variety of courses and levels, and well-suited for a general reader, "History of Italian Cinema" will remain the gold standard in a crowded field for years to come. * John P. Welle, Professor of Italian and Concurrent Professor of Film, Television, and Theatre, University of Notre Dame, USA *In this expanded, updated version, A History of Italian Cinema reclaims its status as the foremost English language work on the history of Italian film. Written in a clear and compelling style, balancing vast coverage with vivid sketches of individual films, this book provides an indispensable resource for scholars and film buffs eager to enrich their knowledge of this grand, and ever vital cinematic tradition. * Millicent Marcus, Professor and Chair, Department of Italian, Yale University, USA *This extensively revised edition of the classic English-language history of Italian cinema reads like a completely fresh work. Clearly written, it takes the reader from the beginnings of cinema to the most recent developments, covering everything from neorealism and art cinema to popular genres like the giallo, horror and comedy and combining a broad overview with detailed analyses of individual films. Lavishly illustrated and with an up-to-date bibliography, this book is the essential guide to the subject for students, specialists and general readers. * David Forgacs, Zerilli-Marimò Professor of Contemporary Italian Studies, New York University, USA *Table of ContentsPreface Acknowledgement 1. An Ancient Cradle for a Newborn Medium: The Rise of Silent Cinema in Italy 2. Industry and Ideology: The Talkies during the Fascist Era 3. Neorealism: A Revolutionary and Problematic ?New Film Aesthetic 4. Neorealism’s Many Faces: Widening the Range of the Camera’s Eye 5. The Cinema of the Reconstruction and the Return of Melodrama 6. Entertainment on an Epic Scale: The Italian Peplum 7. Commedia all’italiana: Social Criticism for Laughter’s Sake 8. The Italian Art Film: Auteurism in Visconti, Antonioni, Fellini, and De Sica 9. Neorealism’s Legacy to a New Generation, and the Italian Political film 10. Myth, Marx, and Freud in Pier Paolo Pasolini and Bernardo Bertolucci 11. The Spaghetti Nightmare: The Heyday of Italian Horror Films 12. A Fistful of Pasta: Sergio Leone and the Spaghetti Western 13. Mystery, Gore, and Mayhem: The Italian Giallo 14. The Poliziesco: Italian Crime Films from the 1970s to the Present 15. Italy’s Truly Popular Genre: Tragicomedy from the 1980s to the Present 16. A Fellinian Ascendant: The Auteur in Contemporary Italian Cinema 17. Weaving Present and Past: The Contemporary Italian Drama Notes Bibliography List of photo credits Index

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Book SynopsisThis book provides a concise introduction to critical race theory and shows how this theory can be used to interpret Jordan Peele''s Get Out. It surveys recent developments in critical race studies and introduces key concepts that have helped shape the field such as Black masculinity, white privilege, the Black body, and miscegenation. The book''s analysis of Get Out situates it within the context of the American horror film, illustrating how contemporary debates in critical race theory and approaches to the analysis of mainstream Hollywood cinema can illuminate each other. In this way, the book provides both an accessible reference guide to key terminology in critical race studies and film studies, while contributing new scholarship to both fields.Trade ReviewGet Out. Candyman. The Sunken Place. The “Final Brother.” Wynter presents a pedagogical masterpiece that explores legacies of anti-Black violence at the intersections of horror films and critical race theory. Wynter’s brilliance is on full display in this exquisitely written book. In fastening the theoretical and artistic to each other, he centers Black articulations of oppression at a time when it is most politically urgent. * Robin R. Means Coleman, Professor of Communications Studies, Northwestern University, USA and author of Horror Noire: Blacks in American Horror Films from the 1890s to Present *Both a primer in critical race theory and an exemplary work of cinematic close reading, Wynter makes a convincing case for Get Out as a film that short-circuits everything we thought we knew about the horror genre. Jordan Peele’s film, Wynter contends, is neither speculative nor allegorical but is rather a rigorously realistic portrayal of Black experience in the "traumatic present." Critical Race Theory and Jordan Peele’s Get Out offers an indispensable elaboration of the intersection between critical race theory and film. * Scott Krzych, Associate Professor of Film and Media Studies, Colorado College, USA *Conceptually rich, lucid, as timely and as harrowing as Get Out itself, Kevin Wynter’s compelling text puts Critical Race Theory and Peele’s film in a mutually illuminating dialog that fully does justice to both. Wynter mines the tension between history and ontology with rigor and elegance, giving full weight to pessimism but also insisting on the fundamental challenge CRT and Get Out leave us with: to ask, impossibly, how could things be otherwise, in the wake of slavery and racist violence? * Brian Wall, Associate Professor of Cinema, Binghamton University, USA *Table of ContentsAcknowledgements Introduction Section 1: Critical Race Theory Section 2: Critical Race Theory and Jordan Peele's Get Out Conclusion Further Reading Suggested Films and Media Index

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Book SynopsisDuring the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don't Cry, and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been Trade ReviewCarrigy offers a brilliant look at how reenactments work as “meta-historical” representations that re-embody the past but also comment on it in surprisingly complex ways. Her book is an invaluable addition to the literature. Replaying the past promises to illuminate its mysteries but it also reshapes our grasp of what has happened in a remarkably wide variety of ways as Carrigy vividly demonstrates in this wide-ranging, insightful work. * Bill Nichols, Professor Emeritus of Cinema, San Francisco State University, USA *Historical recreation, biographical film performance, television crime drama, and movie remakes – moving image reenactments are everywhere. And they befuddle us as they simultaneously seem to be accurate and inaccurate, authentic and inauthentic, and trustworthy and false documents of the past. Megan Carrigy takes us on an illuminating tour of such materials, showing how this indeterminacy operates to interrogate the aesthetic, evidentiary, and ontological status of the moving image. She powerfully demonstrates how the reanimated performance oscillates between theatricality, repetition, and documentation. As a result, The Reenactment in Contemporary Screen Culture, more than a study of a particular representation mode, is an insightful inquiry into the complexity of what we so easily push aside as fake. * Charles R. Acland, Distinguished University Research Professor, Concordia University, Canada *Table of ContentsList of Figures Acknowledgements Introduction 1. ‘To Do; To Perform’: In-Person Reenactment, Remediation and Documentary Performance 2. Between Document and Diegesis: Reenactment and Researched Detail in the Biopic 3. Dramatizing Forensic Crime Reconstruction: Investigation, Trace and Deixis in Police Procedural Television 4. Re-staging the Cinema: Reproducibility and the Shot-for-Shot Remake 5. Trial by Media: Fugitive Testimony, Demonstrative Evidence and Computer Animation in the Courtroom Conclusion References Index

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Book SynopsisPeter Hutchings’s Hammer and beyond remains a landmark work in British film criticism. This new, illustrated edition brings the book back into print for the first time in two decades. Featuring Hutchings’s socially charged analyses of genre classics from Dead of Night (1945) and The Curse of Frankenstein (1957) to The Sorcerers (1967) and beyond, it also includes several of Hutchings’s later essays on British horror, as well as a new critical introduction penned by film historian Johnny Walker and an afterword by Russ Hunter. Hammer and beyond deserves a spot on the bookshelf of anyone with a serious interest in the development of Britain’s contribution to the horror genre.Trade Review' A must read for horror film historians.'ChoiceReprinted with permission from Choice Reviews. All rights reserved. Copyright by the American Library Association.‘When Hammer and beyond first appeared, it immediately set new standards for the study of British horror and our understanding of genre through national cinema. This welcome new edition returns Peter Hutchings to the centre of these debates, where he will always belong. Johnny Walker’s new introduction and thoughtfully selected supplementary materials frame Hutchings’s contributions alongside contemporary developments in scholarship and film production, making this an essential volume for the past, present and future of British horror studies.’Adam Lowenstein, University of Pittsburgh, author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film‘Few academics understand the balance between industry and artistry, history and heritage, and few can articulate the impact each has had on the other as well as Peter Hutchings. When first published, Hammer and beyond was a turning point in the study of British horror and served as a liberation of ideas that began decades before. Hutchings’s entire career served the genre, the films and the filmmakers he deeply loved, but it all started here. This new expanded edition is cause for celebration and, as required reading, should be placed beside your collection of Hammer films for immediate reference, constant study and eternal enjoyment.’Constantine Nasr, filmmaker/writer‘This new edition of Hammer and beyond updates and extends Peter Hutchings’s trailblazing work and his determination to take British horror cinema seriously. Johnny Walker’s work on this volume is a testament to the great esteem in which Hutchings was held by the academic community: he is sorely missed as a critical voice in horror film studies and in the scholarship of British cinema. Walker’s introduction to this volume insightfully places the new edition, and Hutchings’s work in general, in its historical and intellectual context, mapping out the changes in British horror cinema since Hammer and beyond was first published. It will be an essential addition to any horror studies syllabus.’Helen Wheatley, University of Warwick, author of Spectacular Television: Exploring Televisual Pleasure -- .Table of ContentsA return to Hammer and Beyond: introduction to the new edition – Johnny Walker Part I: Hammer and Beyond: The British Horror FilmIntroduction to the first edition1 For sadists only? The problem of British horror2 1945–55: from Dead of Night to The Quatermass Experiment3 1956–64: Hammer and other horrors4 Frankenstein and Dracula5 1964–69: horror production6 Horror and the familyConclusionPart II: Selected writings on British horror film The Amicus House of HorrorAmerican Vampires in Britain: Richard Matheson’s I Am Legend and Hammer’s The Night CreaturesPutting the Brit into Eurohorror: exclusions and exchanges in the history of European horror Afterword – Russ HunterIndex

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Book SynopsisThe Godfather and Philosophy is comprised of twenty-eight chapters by philosophers, who reflect upon the ethical and metaphysical issues raised in The Godfather novels and movies, beginning with the 1969 novel by Mario Puzo and the 1972 movie by Francis Ford Coppola.The Godfather saga has had a profound impact on American cinema, storytelling, thinking about crime, and popular culture. Aimed at thoughtful fans of The Godfather franchise, among the questions tackled in these provocative philosophical chapters are the immigrant experience in America, the relation between ethics and the law, the nature of moral corruption, private justice and vigilantism, organized crime and the American Dream, betrayal and forgiveness, religion and family values, the difficulties of breaking out of a dysfunctional way of life, and the uncertain consequences of vice laws.Joshua Heter teaches philosophy at Jefferson College, Missouri. He co-edited Punk Rock and Philosophy (2022).Richard Greene teaches philosophy at Weber State University, Utah. He wrote the definitive and highly acclaimed book, Spoiler Alert! (It’s a Book about the Philosophy of Spoilers) (2019).Trade ReviewA fascinating, thought provoking, and fun read from cover to cover, "The Godfather and Philosophy: An Argument You Cant Refute" will have an enormous appeal to Godfather fans and readers with an interest in popular culture, social science, and philosophy. While especially and unreservedly recommended for personal, professional, community, college, and university library Philosophy & Popular Culture collections and supplemental curriculum studies lists, it should be noted for students, academia, and non-specialist general readers with an interest in the subject that "The Godfather and Philosophy" is also available in a digital book format James A. Cox, Editor-in-Chief, Midwest Book Review

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Book SynopsisAn incisive analysis of contemporary crime film in Brazil, this book focuses on how movies in this genre represent masculinity and how their messages connect to twenty-first-century sociopolitical issues. Jeremy Lehnen argues that these films promote an agenda in support of the nation's recent swing toward authoritarianism that culminated in the 2018 election of far-right president Jair Bolsonaro.Lehnen examines the integral role of masculinity in several archetypal crime films, most of which foreground urban violence, including Cidade de Deus, Quase Dois Irmãos, Tropa de Elite, O Homem do Ano, and O Doutrinador. Within these films, Lehnen finds representations that criminalize the poor, marginalized male; emasculate the civilian middle-class male intellectual, casting him as unable to respond to crime; and portray state security as the only power able to stem increasing crime rates.Drawing on insights from masculinity studies, Lehnen contends that Brazilian crime films are ideologically charged mediums that assert and normalize the presence of the neo-authoritarian male within society. This book demonstrates how gendered scripts can become widely accepted by audiences and contribute to very real power structures beyond the sphere of cinema.

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Book SynopsisUpdated and expanded for a new edition, this is the perfect starter text for students of film studies. Packed full of visual examples from all periods of film history up to the present, Film:A Critical Introduction illustrates film concepts in context and in depth, addressing techniques and terminology used in film production and criticism, and emphasizing thinking and writing critically and effectively.With reference to 450 new and existing images, the authors discuss contemporary films and film studies scholarship, as well as recent developments in film production and exhibition, such as digital technologies and new modes of screen media.New features in the fourth edition:Expanded discussion of changing cultural and political contexts for film and media industries, including #MeToo, #TimesUp, and #OscarsSoWhiteUpdated examples drawing from both contemporary and classic films in every chapter highlight that film studies is a vibrant and growing field.New closing chapter expands the book''s theoretical framework, linking foundational concepts in cinema studies to innovative new scholarship in media and screen studies.Thoroughly revised and updated discussions of auteur theory, the long-take aesthetic, ideology in the superhero film and more.

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Book SynopsisThe official 10th anniversary making of book for the Duncan Jones directed sci-fi film Moon. Directed by Duncan Jones, and written by Nathan Parker from a story by Jones, Moon is a 2009 science fiction drama following Sam Bell, a man who experiences a personal crisis as he nears the end of a three-year solitary stint mining helium-3 on the moon. Independently financed and produced on a modest budget, Moon became an instant cult classic. It was well received by critics and audiences alike, and was particularly praised for its scientific plausibility and realism. Making Moon will take an in-depth look back at the film's production: It features interviews with the film's key creatives and includes rare concept and behind-the-scenes images, as well as excerpts from the original shooting script.Trade Review“I've read and reviewed quite a few movie books such as this and this one might have been the best researched. Every aspect of the production is captured and cataloged with such detail I imagine this could serve as a helpful guide to future filmmakers” 10/10 - Aventures in Poor Taste“a high quality art book for a cult classic sci-fi film in Moon. If you love the film, or just appreciate insights into the filmmaking process, then this is a great little art book to add to the collection” - Entertainment Buddha “I'd highly recommend picking up a copy. You won't be disappointed.” - Birth.Movies.Death.“a gorgeous book loaded with information for the Sci-Fi Nerd” - Fangirl Nation“a tactile treat to satisfy the sci-fi obsessive” - Film School Rejects“a fine addition to a film fan's library, and for Moon enthusiasts, it's hard to find a reason not to own it” - Cinema Sentries“An in-depth look the film deserves” - The Film Stage

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Book SynopsisThe French New Wave is an essential anthology of writings by and about the critics and filmmakers of this revolutionary cinematic movement, which has had a radical impact on film practice and the way we think and write about film. The volume includes foundational writings such as Francois Truffaut's A Certain Tendency in French Cinema and Andre Bazin's La Politique des auteurs, as well writings by Jean-Luc Godard, Claude Chabrol and Alexandre Astruc. This new edition now represents writings by and about women critics and film-makers, including important articles by the critics Evelyne Sullerot, Michele Firk and Françoise Aude, addressing issues of gender and representation, as well as considering New Wave films in the context of contemporary political events, notably France's colonialist war on the Algerian independence movement. To accompany the case study of Godard's À bout de souffle, the new edition includes a case study of the critical reception of two films by Agnès Varda: La Pointe Courte and Cléo de 5 à 7 . The articles have been specially translated for the volume by Peter Graham, and some are published for the first time in English. These classic writings are accompanied by contextualising introductions by Ginette Vincendeau, updated for this new edition, to form a unique resource on this key cinematic movement and its practitioners.Trade ReviewThis is an indispensable point of reference for anyone interested in the movement. The book's resurrection in this slightly expanded new version is very welcome, and it remains faithful to one of the series' hallmarks: the imaginative arrangement of the many carefully selected stills. * Sight & Sound (of the 2009 edition) *...the re-printed essays in The French New Wave: Critical Landmarks encapsulate an exciting time of cultural change with their fierce opinions and alternative approach towards reading film. * Scope (of the 2009 edition) *Table of ContentsPreface to the 2022 edition Preface to the 2009 Edition Preface to the 1968 Edition Introduction (updated): Sixty Years of the French New Wave 1. The politique des auteurs: foundational texts The Birth of a New Avant-Garde: La Caméra-Stylo ALEXANDRE ASTRUC A Certain Tendency in French Cinema FRANÇOIS TRUFFAUT The Evolution of Film Language ANDRÉ BAZIN La Politique des auteurs ANDRÉ BAZIN 2. Critical debates: authorship and mise-en-scène The Delights of Ambiguity: In Praise of André Bazin GÉRARD GOZLAN Little Themes CLAUDE CHABROL. Review of Alexandre Astruc’s Une vie JEAN-LUC GODARD. The Emperor Has No Clothes ROBERT BENAYOUN. Interview with François Truffaut CAHIERS DU CINÉMA. 3. Authorship-mise-en-scène Case Study: the reception of A bout de souffle Contrasting Views of A bout de souffle: Jean-Luc Godard LUC MOULLET . A bout de souffle RAYMONDE BORDE . Le Quai des brumes 1960: A bout de souffle by Jean-Luc Godard GEORGES SADOUL. 4. Critical debates: The Missing Perspective, gender and politics Identikit of the ‘New Wave’ heroine EVELYNE SULLEROT Goodnight, Doctor Kinsey PIERRE KAST Three texts by MICHÈLE FIRK Hiroshima mon amour, the heart and the mind FRANÇOISE AUDÉ 5. Gender Case study: the reception of Agnès Varda MONOD: La Pointe courte; SADOUL: Cleo de 5 a 7; BORY: Cleo de 5 a 7 Bibliography (updated) Index (updated)

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Book SynopsisAction Cinema Since 2000 addresses an increasingly lively and evolving field of scholarship, probing the definition and testing the potential of action cinema to reframe the mode for the 21st century.Contributors examine a broad range of content, from blockbusters to smaller independent films, originating from China, Korea, India, France, the USA, and Mexico. Ranging from JSA: Joint Security Area (Gondonggeonygbi guyeok) (2000) to Polite Society (2023), they consider the changing modes of action cinema, with streaming assuming global importance and an ever-increasing number of generic blends. They consider under-explored areas of action film, particularly how race, ethnicity, gender, and age figure in narratives and through image and soundtracks. Overall, the book demonstrates how 21st century action cinema engages with and reflects geopolitical, creative, and industrial developments. Contributors argue that it continues to offer fantasies

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Book SynopsisTwo screenwriters once walked into a Hollywood producer's office and said three words 'Jaws in space.' Those three words won them the contract for the blockbuster movie Alien. The ability to pitch well is essential for all writers, directors and producers in cinema and TV. Strong pitching skills will accelerate your career - not only helping you sell your projects, but also developing them in the first place, focusing on what makes a story work, clarifying character and plot, and working more successfully with industry collaborators. This book takes you from the essentials of what makes a good pitch to advanced skills that will help you in all kinds of pitching situations. Charles Harris gives a clear-sighted view of how pitching works in the industry and a series of very practical techniques for developing a gripping and convincing pitch. Drawing on his experience, he examines the problems that can arise with both mainstream and unconventional projects - from a range of different cultures - and explains how to solve them. He also analyses the process of taking a pitch meeting and shows you how to ensure you perform at your best.Trade ReviewEverything you need to know about pitching and a whole lot more -- Nicola QuilterCharles Harris has created the perfect handbook for anyone who is a bit uncertain or scared about pitching their work * www.writesofluid.com *Charles makes the whole process of pitching seem so enjoyable -- Elinor * Lock and Load, Brides of Christ *

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Book SynopsisSoftcover edition contains all-new hand-drawn cover artwork by HagCult! As featured in The New York Times, Rolling Stone, Entertainment Weekly, MovieMaker, SYFY, Fangoria, Yahoo's "It List", SFX, Mental Floss, Total Film, Mashable, and more!How did a low-budget British movie about Londoners battling zombies in a pub become a beloved global pop culture phenomenon?You’ve Got Red on You details the previously untold story of 2004’s Shaun of the Dead, the hilarious, terrifying horror-comedy whose fan base continues to grow and grow. After speaking with dozens of people involved in the creation of the film, author Clark Collis reveals how a group of friends overcame seemingly insurmountable odds to make a movie that would take bites out of both the UK and the US box office before ascending to the status of bona fide comedy classic.Featuring in-depth interviews with director Edgar Wright, producer Nira Park, and cast members Simon Pegg, Nick Frost, Kate Ashfield, Bill Nighy, Lucy Davis, and Coldplay singer Chris Martin, the book also boasts a treasure trove of storyboards, rare behind-the-scenes photos, and commentary from famous fans of the movie, including filmmakers Quentin Tarantino and Eli Roth, Walking Dead executive producer Greg Nicotero, and World War Z author Max Brooks.As Pegg’s zombie-fighting hero Shaun would say, “How’s that for a slice of fried gold?”Trade Review"Edgar Wright, Simon Pegg, Nick Frost, and more offer unique insights into the making of their 2004 zombie comedy classic, Shaun of the Dead. The 424-page book traces the film’s story, from late-night pub conversations about surviving the zombie apocalypse to an unexpected hit at Comic-Con 2004." — Rolling Stone"A sharply written, thorough, and loving tribute to a modern-day cinema classic." — Kirkus, starred review"You've Got Red on You is a must-buy." — Fangoria"Witty and deeply researched. What a wonderful, fun, fascinating read." — MovieMaker"An exemplary movie retrospective, one which combines an astonishing amount of research with a real flair for storytelling. 5/5 stars." — SFX"Just *look* at Clark Collis's stunning book on the making of Shaun Of The Dead. The red metallic page edging, the cover art, the inside... it's a thing of beauty. In other words: how's that for a slice of fried gold?" — Ali Plumb, BBC Radio 1"...almost 20 years later, Shaun of the Dead is a cult classic. Director Edgar Wright and actors Simon Pegg and Nick Frost inform the bulk of the narrative with hilarious remembrances; Quentin Tarantino, Eli Roth, and the late George A. Romero are quoted here too...resulting in a work [that will be] wildly entertaining to horror buffs." — Library Journal, starred review"A really entertaining read and, if you’re a fan of the film, very illuminating on the struggles to not only get it made, but also to have the film be taken seriously. If you’ve ever wanted to make a movie, you’ll learn a lot in You’ve Got Red on You.” — Shaun of the Dead co-writer/director Edgar Wright"So many relationships grow and expand over the course of Collis' book that readers will find themselves falling in love with Shaun of the Dead – to say nothing of Wright, Pegg, and Frost – all over again, twenty years on. 4/4 stars." — Starburst"[You've Got Red on You] gives unparalleled access to near everyone involved with the movie, plus sketches, script drafts, storyboards, and BTS photos aplenty." — Total Film"One of the best books of the year." — Buzz Magazine"If you’re a fan of Shaun of the Dead or a filmmaker influenced by the films of Wright this is essential reading. It is so good we read it twice before this review." — Screen Anarchy"One of the best [pop culture books this holiday season] is You’ve Got Red on You, Clark Collis’ breezy-yet-thorough look at 2004’s horror-comedy Shaun of the Dead…it instantly takes its place in the upper echelon of making-of books." — Josh Sewell, Times-Georgian"Shaun of the Dead is one of the most widely-discussed horror movies of the 2000s. Released on the heels of Wright’s latest film, Last Night in Soho, You’ve Got Red on You is the definitive account of how Shaun of the Dead came to be, featuring new interviews from the core creative trio, as well other key members of the cast and crew. Take this book with you the next time you book a table 'at the place that does all the fish.'" — Yahoo (the "It List")"Like a slap of a cricket bat to the face, Clark Collis’s terrific new book, You’ve Got Red on You, takes us on a deep dive into the making of Edgar Wright’s classic horror/comedy Shaun of the Dead. It’s a fantastic view into the effort, heartache and exultation of the filmmaker’s struggle to create a groundbreaking and gore-drenched film." — Phantasm writer/director Don Coscarelli"The intricately rendered and definitive story behind the creation of Edgar Wright’s cinematic rom-zom-com tour-de-gore’s that is Shaun of the Dead, recounted with affection by the one and only Clark Collis." — The Nun director Corin Hardy"If you are an Edgar Wright fan, especially if you are a Shaun of the Dead fan, check out Entertainment Weekly scribe Clark Collis' exhaustive (but not exhausting) new book, which takes you deep to the heart of everything Shaun! A fascinating deep dive into one of the best horror comedies of all time.” — director Mick Garris (Stephen King's The Stand / Tales from the Crypt)"Exhaustively researched and brimming with funny, fascinating stories I didn't know, this book is must read, not just for hardcore fans, but for anyone who's interested in the creative process." — author Melissa Maerz (Alright, Alright, Alright: The Oral History of Richard Linklater's Dazed and Confused)"Rejoice Shaun of the Dead and film fans! You've Got Red on You is an in-depth, thoroughly enjoyable, and inspiring story of the making of the classic film. Collis expertly weaves interviews from cast and crew with other first hand accounts, starting before line one of the screenplay was written. I inhaled this book with a smile on my face. Now let's head down to the Winchester for a pint." — author Paul Tremblay (A Head Full of Ghosts / The Cabin at the End of the World)“I was a huge fan of Shaun of the Dead. It was my favourite movie of that year. Their jokes were like perfectly placed time bombs.” — Quentin Tarantino“We didn’t ever really want to parody zombie movies. We wanted to make a zombie movie.” — actor Simon Pegg"There were zombies getting off with each other. There were loads of zombie relationships. Two zombies got together on the pool table." — producer Nira Park“I heard it was a romantic-comedy with zombies, and I was like, well, that sounds sh*t.” — actor Rafe SpallTable of ContentsPrologue Chapter 1: Origins of the Dead Chapter 2: Best Friends of the Dead Chapter 3: Script of the Dead Chapter 4: Money of the Dead Chapter 5: Cast and Crew (and Zombies) of the Dead Chapter 6: Shoot of the Dead Chapter 7: Pub of the Dead Chapter 8: Return of the Shoot of the Dead Chapter 9: Release of the Dead Chapter 10: Release of the Dead 2 Chapter 11: Cornettos of the Dead Epilogue

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Book SynopsisAs featured in Fangoria, Movieweb, ComingSoon, Queerty, Rue Morgue, Yahoo News, Bloody Disgusting, and more!In 1983, Robert Hiltzik’s Sleepaway Camp was quickly disregarded by film reviewers. Variety called it a “tired version of teen oriented horror film formulas," The Philadelphia Enquirer "had more thrills untangling paper clips," and The Cincinnati Post branded it "more horrible than horrifying."But fans saw something different. Very different. 40 years since its release, the film’s unique blend of horror, tongue-in-cheek comedy, sexuality, and gender roles—along with an ending to end all endings, was seemingly ahead of its time. Sleepaway Camp is now discussed and debated more than when it was initially released.Longtime official Sleepaway Camp webmaster, writer, and filmmaker Jeff Hayes goes behind the scenes like never before, revealing the development and making of the film, its immediate aftermath, and the more than four decades of fandom since its release. This definitive Sleepaway Camp compendium includes interviews with much of the cast and crew (with many new exclusives), more than 75 production and memorabilia images (including previously unreleased on-set stills), and takes you backstage to the reunions, retro screenings, and convention events that have united fans and reignited interest in this beloved horror tale.Two sequels later, plus Hiltzik's retcon film Return to Sleepaway Camp, Sleepaway Camp continues to resonate in a big way with ’80s film buffs, global horror fans, and the LGBT community, all of whom enjoy their horror films…with a twist.Welcome to Sleepaway Camp. Meet you at the waterfront, after the social.Trade ReviewHoliday 2023 Gift Guide Mention: /Film."Jeff Hayes might be the absolute best person to write a book on this cult classic and the franchise it spawned...If you call yourself a Sleepaway Camp fan, you can’t live without this." — Rue MorgueTable of ContentsIntroduction1. Pre-Production2. Casting3. Production4. A Campy Environment5. Murder, Mayhem, Two Eds, and a Bill6. Revelations from the Big Climax7. Post-Production8. Frankie Vinci Interview9. Distribution/Release10. Cast and Crew Reactions11. Critics’ Reviews12. So Bad It’s Good, or Misunderstood?13. VHS Release and Cablecast14. Sleepaway Camp II and III15. The Website16. The First Big Break17. Searching for Felissa Rose18. Coming Soon: Sleepaway Camp on DVD19. Felissa’s Apartment and Interview20. Last-Minute DVD Arrangements and Commentary21. The Comeback Trail: The Sleepaway Camp Reunion22. Alamo Drafthouse / 200123. Flashback Weekend / 200224. Red Cross Box Set25. Return to Sleepaway Camp26. Sleepaway Camp Reunion 2 / 200927. Judy28. Later Releases29. Desiree Gould (Aunt Martha) / 1945-202130. A Critical Reevaluation31. Return to (the Actual) Camp Arawak / 202232. Gender and HomoeroticismFinal ThoughtsAcknowledgmentsImage CreditsAbout the Author

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Book SynopsisA definitive and surprising exploration of the history of Black horror films, after the rising success of Get Out, Candyman, and Lovecraft Country from creators behind the acclaimed documentary, Horror Noire.The Black Guy Dies First explores the Black journey in modern horror cinema, from the fodder epitomized by Spider Baby to the Oscar-​winning cinematic heights of Get Out and beyond. This eye-opening book delves into the themes, tropes, and traits that have come to characterize Black roles in horror since 1968, a year in which race made national headlines in iconic moments from the enactment of the 1968 Civil Rights Act and Martin Luther King Jr.’s assassination in April. This timely book is a must-read for cinema and horror fans alike.

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Book SynopsisThis book brings genre back to the forefront of the current transmedia trend. Genres are perhaps the most innately transmedial of media constructs, formed as they are from all kinds of industrial, technological and discursive phenomena. Yet, few have considered how genre works in a multiplatform context. This book does precisely that, making a uniquely transmedial contribution to the study of genre in the age of media convergence. The book interrogates how industrial, technological and participatory transformations of digital platforms and emerging technologies reshape workings of genre. The authors consider franchises such as Star Wars, streaming platforms such as Netflix, catch-up services such as ITV Hub, creative technologies such as virtual reality, and beyond. In setting the stage for the revival of genre theory in contemporary transmedia scholarship, this book pushes forward understandings of multiplatform media and the emerging form and function of genre across contemporary culture.Table of Contents1 Introduction or: Why We Still Need Genre PART I: Media Conglomerates 2 Transmedia Superhero: Marvel, Genre Divergence and Captain America 3 Transmedia Western: Lucasfilm, Genre Linking and The Mandalorian PART II: Digital Platforms 4 Transmedia Horror: Netflix, Genre Empowerment and Stranger Things 5 Transmedia Docudrama: ITV Hub, Genre Democratisation and Quiz 6 Transmedia Comedy: BBC Three, Genre Distribution and Pls Like 7 Transmedia Fantasy-JRPG: Kickstarter, Genre Leveraging and Eiyuden Chronicle: Hundred Heroes PART III: Emerging Technologies 8 Transmedia War: Virtual Reality, Genre Embodiment and The Day the World Changed 9 Transmedia Science Fiction: Deepfake Technology, Genre Fictioning and Reminiscence 10 Conclusion: Towards a Conceptual Framework of Transmedia Genre

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Book SynopsisThis open access book deals with the role of written texts in an increasingly diverse and dynamic society, bringing together a series of studies anchored in the Scandinavian research tradition of sakprosa, which roughly translates as ‘subject-oriented prose’ or ‘professional communication’. The authors examine the written text’s capacity to transcend contextual boundaries, as a crucial factor in the importance of capturing and maintaining content as a manageable entity. The chapters each deal with a text type that manages complex content in a specialized way, including genre shifting in CSR reports, discourse networks in modern digital culture, digital and social media crisis communication, and epistemic positions in non-fiction. This book is relevant to fields such as text research, professional/digital communication, discourse analysis and literacy studies, and may also be of interest to disciplines such as history, rhetoric, organization studies, media studies/journalism, and linguistics. Table of ContentsChapter 1: A discourse of things. Nordic perspectives on texts negotiating issues that matter in professional communicationChapter 2: Texts complying with societal pressures - Changing genres in Finnish companies’ CSR reportingChapter 3: Subject-oriented prose in digital discourse networks: digital media as a socio-material condition for access and circulationChapter 4: Crisis communication on social media: Informalization in the hour-by-hour struggle for informationChapter 5: Sheep, watchdogs and wolves as epistemic positions: How a master’s programme in non-fiction writing produced and reflected an epistemic practice for the field of sakprosa in Norway.Chapter 6: Postscript: The Power and Potential of the Concept Sakprosa (CPS) A guided tour through five topoi.

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Book SynopsisDisplay this pop-up Joker™ and transform into a completely different look with just one touch!Display and play! The DC Flip Pop: The Joker book transforms from one look to another with just a push of a button!  TWO FIGURES IN ONE: With the push of a button, this pop-up Joker transforms from the iconic classic comic book version of The Joker to the more modern version of The Joker  COMPLETE THE SCENE: Pull the tab inserts to reveal an intricate scene full of detail  PLAY AND DISPLAY: Add a touch of Gotham City excitement to a bookshelf, table, or display case BONUS BOOKLET:  Discover fun facts and behind the scenes secrets about the Clown Prince of Crime in the bonus pull-out booklet  COLLECT THEM ALL: DC Flip Pop: Batman also available! 

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Book SynopsisWritten and designed in collaboration with the cast and crew that brought JK Rowling's celebrated novels to the silver screen, this book delivers an enchanting interactive experience, transporting readers to the wizarding world by sharing filmmaking secrets, unpublished photography and artwork, and exclusive stories from the stars.Trade ReviewVisually scrumptious, filled with fun gimmicks and cut-outs, and acts as a guide to the series as well as the production challenges * Independent on Sunday *

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Book SynopsisHorror movies can reveal much more than we realize about psychological disorders—and clinical psychology has a lot to teach us about horror. Our fears—mortality, failure, loneliness—can be just as motivating as our wishes or desires. Horror movie characters uniquely reveal all of these to a wide audience. If explored in an honest and serious manner, our fears have the potential to teach us a great deal about ourselves, our culture, and certainly other people. From psychologist, researcher, and horror film enthusiast Brian A. Sharpless comes Monsters on the Couch, an exploration into the real-life psychological disorders behind famous horror movies. Accounts of clinical syndromes every bit as dramatic as those on the silver screen are juxtaposed with fascinating forays into the science and folklore behind our favorite movie monsters. Horror fans may be obsessed with vampires, werewolves, zombies, and the human replacements from Invasion of the Body Snatchers, but even many medical professions may not know about the corresponding conditions of Renfield's syndrome, clinical lycanthropy, Cotard's syndrome, and the misidentification delusions. Some of these disorders are surprisingly common in the general population. For instance, a number of people experience isolated sleep paralysis, a disorder implicated in ghost and alien abduction beliefs.As these tales unfold, readers not only learn state-of-the-art psychological science but also gain a better understanding of history, folklore, and how Hollywood often—but not always—gets it wrong when tackling these complex topics.Table of ContentsIntroductionPart I: Movie Monsters from the Early Days of Cinema 1. Clinical Lycanthropy: The Werewolves and Were-Gerbils Among Us 2. You Suck, or, A (Diagnostic) Interview with the Vampire: Vampire Movies and Renfield’s Syndrome 3. I Am the Walking Dead, or, The Whiter Shade of Pale: Cotards Syndrome and Zombie MoviesPart II: Modern Day Movie Marvels 4. One Two the Dab Tsob’s Coming for You . . . : The Real-Life Mystery Behind A Nightmare on Elm Street 5. This Is Not My Beautiful House, This Is Not My Beautiful Wife: Horror Movies Related to the Misidentification Syndromes 6. Demons, Aliens, and Shadow People: The New Horror Subgenre of Sleep ParalysisPart III: Monstrous Behaviors 7. Are You Gonna Eat That? Cannibal Movies and Vorarephilia 8. Shuddersome Sex in the Movies: Attracted to the Big Sleep/Stillness of Death: Necrophilia and Somnophilia Conclusion: Better Living Through Horror Notes Index

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Book SynopsisWhat does it mean for a cinematic work to be Chinese? Does it refer specifically to a work''s subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like Chinese cinema difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations, while taking care to address the consequences of grouping together so many disparate histories under a single banner. Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity -Trade ReviewThe publication of this book represents an important mile marker in the academic study of Chinese cinema ... it is erudite, sophisticated, and self-reflective ... an outstanding work. * P. Lorge, Choice *Table of ContentsHISTORY ; 1) Jianhua Chen, ; "D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai" ; 2) Kristine Harris, ; "Ombres Chinoises: Split-Screens and Parallel Lives in Love and Duty" ; 3) David Der-wei Wang, ; "Fei Mu, Mei Lanfang, and the Polemics of Screening China" ; 4) Jie Li, ; "A National Cinema for a Puppet State: The Manchurian Motion Picture Association" ; 5) Yomi Braester ; "A Genealogy of Cinephilia in the Maoist Period" ; 6) Poshek Fu ; "Cold War Hong Kong and Mid-twentieth Century Mandarin Cinema" ; 7) Tsungyi Michelle Huang ; "Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema" ; 8) Song Hwee Lim ; "Taiwan New Cinema: Small Nation with Soft Power" ; 9) Michael Berry ; "Chinese Cinema with Hollywood Characteristics, or How The Karate Kid became a Chinese Film" ; 10) Pheng Cheah, ; "World as Picture and Ruination: On Jia Zhangke's Still Life as World Cinema" ; FORM ; 1) Stephen Teo, ; "The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form" ; 2) Emilie Yueh-yu Yeh, ; "A Small History of Wenyi" ; 3) Ban Wang, ; "Art, Politics, and Internationalism: Korean War Films in Chinese Cinema" ; 4) Gary Gang Xu, ; "Edification through Affection: The Cultural Revolution Films, 1974-76" ; 5) Michael Eng, ; "Reforming Vengeance: Kung Fu and the Racial Melancholia of Chinese Masculinity" ; 6) Sean Metzger ; "Desire and Distribution: Queer/Chinese/Cinema" ; 7) Yingjin Zhang, ; "Thirdspace Between Flows and Places: Chinese Independent Documentary and Social Theories of Space and Locality" ; 8) Ying Zhu, ; "From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama" ; 9) Audrey Yue, ; "New Media: Large Screens in China" ; 10) Paola Voci, ; "Online Small Screen Cinema: The Cinema of Attractions and the Emancipated Spectator" ; STRUCTURE ; 1) Jason McGrath ; "Acting Real: Cinema, Stage, and the Modernity of Performance in Chinese Silent Film" ; 2) James Tweedie, ; "Edward Yang and Taiwan's Age of Auteurs" ; 3) Darrell William Davis, ; "A Marriage of Convenience: Musical Moments in Chinese Films" ; 4) Zhiwei Xiao ; "Policing Film in Early 20th Century China, 1905-1923" ; 5) Laikwan Pang, ; "Between Will and Negotiation: Film Policy in the First Three Years of People's Republic of China" ; 6) Rey Chow, ; "Fetish Power Unbound: A Small History of 'Woman' in Chinese Cinema" ; 7) Louisa Schein, ; "Ethnographic Representation Across Genres: The Culture Trope in Contemporary Mainland Media" ; 6) Andy Rodhekohr, ; "Conjuring the Masses: The Spectral / Spectacular Crowd in Chinese Film" ; 9) Kwai-Cheung Lo, ; "The Idea of Asia(nism) and Trans-Asian Productions" ; 10) Eugene Wang, ; "Film and Contemporary Chinese Art: Mediums and Remediation" ; 11) Ying Qian, ; "Crossing the Same River Twice: Documentary Re-enactment and the Founding of PRC Documentary Cinema" ; 12) Yiman Wang, ; "Remade in China: Chinese Cinema in the Age of Blockbuster" ; 13) Carlos Rojas, ; "Cinematic Encounters in Tsai Ming-liang's The River"

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Book SynopsisA spirited dive into the life and career of a performer, writer, and director who dominated twentieth-century American comedyTrade Review“[Dauber] has written a piece of criticism as elegant and sympathetic as Brooks is vulgar and savage.”—Tanya Gold, The Spectator“In a new biography, Jeremy Dauber breaks down how the comedian and director just couldn’t help being a loving iconoclast skewering the establishment.”—Times of Israel“The energy, the sass, the inexhaustible comic brio that define Mel Brooks seem too volcanic to fit between the covers of a book. But, miracle of miracles, Jeremy Dauber has made it happen, simultaneously entertaining and enlightening as he takes us along on a very wild ride.”—Kenneth Turan, author of Not to Be Missed: Fifty-Four Favorites from a Lifetime of Film“When someone has been as significant an influence on culture as Mel Brooks, it can be tough to tell their story in a fresh, cohesive way. But Jeremy Dauber has done it, giving us a limpid, inviting, and lively new look at Brooks, his work, and the ways his Jewishness shapes everything he’s done. In the process, he shows how Brooks’s fingerprints are all over our shared cultural lives—whether or not we share his cultural identity. It’s a fascinating read, and pure pleasure.”—Alissa Wilkinson, senior culture writer, Vox

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Book SynopsisExamining films by Gus Van Sant, Jim Jarmusch and Sofia Coppola to highlight their use of cinematic time as a mode of philosophical thought, this book brings new and exciting perspectives to American independent cinema.Trade Review"American Independent Cinema offers a welcome original take on US indie films. The first book-length study to engage with this most popular of forms using Deleuze, it provides a refreshing political engagement with the aesthetics of US indies. Backman Rogers' deft argument insightfully illuminates how US indie's manifold bodies in crisis (for example, consider Bill Murray's ubiquitous deadpan lethargic characters) produce a "radical or cerebral critique" of neoliberal USA. A sophisticated scholarly endeavour, the engaging prose enables Deleuze's complex ideas to be realised in the most lucid way, and in relation to some of the most important films of recent decades: from Dead Man through Elephant and Broken Flowers to Somewhere." -- Professor David Martin-Jones, University of Glasgow "[American independent cinema: rites of passage and the crisis image] presents case studies of films that offer aesthetic forms of 'radical or cerebral critique' (2). These films not only rethink what American independent cinema can do, but also rethink how we can think through cinema." -- Laura Stamm, University of Pittsburgh, New Review of Film and Television Studies

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Book SynopsisExplore the science behind some of your favorite popular science fiction tropes--from escaping a black hole to riding a space elevator to the stars—in this illustrated guide from NASA advisor and host of the popular Tested podcast Offworld.  Whether it's researching new technology, theories, or possible extraterrestrial situations, the showrunners and directors of our favorite science fiction shows and films are often extending the boundaries of real science, leaving viewers and fans to wonder, 'Could this really happen?'    In Out There: The Science Behind Sci-Fi Film and TV, author and filmmaker Ariel Waldman dives into the fascinating real science behind some of the most beloved space-themed science fiction tropes, from faster-than-light travel to AI ships, hypersleep, and imagining life on other planets. Each chapter dives into particular situations or scientific questi

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Book SynopsisThe allure of the horror film is varied. Some prefer the voyeurism of watching others suffer. Some enjoy the cinematic depiction of gore. Still, others are tempted by the psychological torment of watching others in danger. The Spark of Fear explores all of these elements through one unifying element: the rise of technology in the modern world.

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Book SynopsisCompares the roles of civil professionals in most American Westerns to those in work on the 1910 Mexican Revolution. Included are studies on the Santiago Toole novels by Richard Wheeler, Strange Lady in Town with Greer Garson, and La sombra del Caudillo by Martín Luis Guzmán.

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Book SynopsisThe first comprehensive biography of the director behind Godzilla and other Japanese sci-fi classics.Ishiro Honda was arguably the most internationally successful Japanese director of his generation, with an unmatched succession of science fiction films that were commercial hits worldwide. From the atomic allegory of Godzilla and the beguiling charms of Mothra to the tragic mystery of Matango and the disaster and spectacle of Rodan, The Mysterians, King Kong vs. Godzilla, and many others, Honda''s films reflected postwar Japan''s real-life anxieties and incorporated fantastical special effects, a formula that appealed to audiences around the globe and created a popular culture phenomenon that spans generations. Now, in the first full account of this long overlooked director''s life and career, authors Steve Ryfle and Ed Godziszewski shed new light on Honda''s work and the experiences that shaped itincluding his days as a reluctant Japanese soldier, witnessing the aftermath of Hiroshima

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Book SynopsisWriting and Selling Thriller Screenplays has the lowdown on how to get your thriller feature script on to the page, and how to get it in front of producers and investors....Trade ReviewTrust Lucy Hay on the film and TV business. In her trademark cut-to-the-chase style, she meticulously sets out what the public likes and the industry wants and crucially, concludes with invaluable in-depth career strategies for getting your scripts read and you into the industry. The go-to book on thrillers. Keep one on your desk -- Linda Aronson

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Book SynopsisExamining post-1990s Indie cinema alongside more mainstream films, Brereton explores the emergence of smart independent sensibility and how films break the classic linear narratives that have defined Hollywood and its alternative ''art'' cinema. The work explores how bonus features on contemporary smart films speak to new generational audiences.Trade Review'This book is using 'smart' in at least three ways in relation to cinema: first, in taking up ideas on smart films and their audiences, particularly as these have been articulated by Jeffrey Sconce, as the best way of thinking about a wide range of mostly independent films that rely and play on an assumed advanced cinematic literacy in their audience; second, in relation to the bonus material provided on DVDs, which constitutes not merely a form of marketing but also and more interestingly an educational resource and a site of additional pleasurable engagement with the films that it accompanies; and third, in thinking about the use of digital technologies at all levels of the film industry, including in relation to the nature and organization of content (narrative) that emphasize similarities with newer digital forms such as computer games. All these sense of smart are in play in the book, which makes a particular claim to originality in its focus on DVD add-ons.' - Denis Condon, National University of Ireland 'Through accessible and insightful close readings, Smart Cinema brings together movies from different countries, genres, and directors in order to show how how these films participate in the wider cultures of cinephilia. Brereton is especially sharp in his assessment of the role of DVD extras in promoting new modes of cinematic storytelling.' - Chuck Tryon, Fayetteville State University, USA 'From Donnie Darko to Pixar, this is a fascinating and timely overview of 21st Century western cinema's defining feature: its smartness. Brereton gives new insights into the digital technologies, complex storytelling and savvy audiences that typify film culture today, through accessible analyses of Pulp Fiction, Fight Club, Be Kind Rewind, In Bruges, Inception and many others. As smart as the films it studies.' - Ernest Mathijs, University of British Columbia, CanadaTable of ContentsAcknowledgements Setting out the Parameters of Smart Cinema, New Technology and DVD Add-ons Postmodernism: Parody and Smart Cinema Independent New Smart Creatives and Niche Marketing Smart Cult Classics European Art and Smart Cinema Smart Irish Comedy Social Realism and Contemporary British Smart Cinema Smart Green Animation Smart SFX and Science Fiction Smart Post-9/11 Narratives Conclusions and Future Research Appendix 1 – History of DVDs Appendix 2 – Bonus Features Used in Book Bibliography Index

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Book SynopsisExploring research into mobile phone use as props to subjective identity, Norman Taylor employs concepts from Michelle Foucault, Gilles Deleuze and actor network theory to discuss the affect of mechanisms of make-believe, from celebrity culture to avatar-obsessed game players, and digital culture.Table of ContentsAcknowledgements Contents Foreword Introduction PART I: APPROACHES TO DIGITAL CULTURE A Conceptual History Mobile Affect Affective Networks PART II: CINEMATIC PERSPECTIVES Classical Hollywood's Mature Technology Stars and Avatars Film and Hybridity PART III: CONSORTING WITH THE MACHINE Machines of Celebrity Machines of Legal Subjectivity Machines of the Networked Assemblage Machines to Consort With Notes Bibliography Index

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Book SynopsisKristi McKim offers close-analyses of films in which attachment and detachment, intimacy and distance, ephemera and endurance become more visible and meaningful. Films discussed include Wim Wenders'' Wings of Desire , Agnès Varda''s Jacquot de Nantes , Doris Dörrie''s Cherry Blossoms and Olivier Assayas'' Summer Hours.Trade Review'Kristi McKim is a keen, imaginative and moving analyst of texts both cinematic and theoretical and she writes in a powerfully evocative and poetic style that is nonetheless precise and rigorous. Her analyses of an international array of films are superlative. This is theoretical and critical work of the highest order, a highly original work of cinema studies and in particular of the representation of time and love in the cinema.' - Matthew H. Bernstein, Emory University, USATable of ContentsList of Figures Acknowledgements Introduction Love in the Time of Cinema Cinematic Reconciliation of Romantic and Historical Time: Wim Wenders' Wings of Desire Mortality and Cinephilia in the Cinematic Elegy: Agnès Varda's Jacquot de Nantes Learning to Love What Passes: Hirokazu Kore-eda's After Life Making Art of What Endures: Doris Dörrie's Cherry Blossoms and Olivier Assayas' Summer Hours Conclusion Endnotes Bibliography Index

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Book SynopsisA detailed, theoretically attuned analysis of all of the Scorsese-directed features from The Last Waltz to Bringing Out the Dead . Grist illuminates Scorsese's authorship, but also reflects back upon a range of informing contexts.Table of ContentsAcknowledgements Evolving Authorship, Developing Contexts: 'Life Lessons' Scorsese and Documentary: The Last Waltz Masculinity, Violence, Resistance: Raging Bull Back to Travis#1: The King of Comedy Adventures in Reagan and Bush Snr's USA: The Color of Money and GoodFellas Yuppies in Peril: After Hours and Cape Fear Religion, Blasphemy, and the Hollywood Institution: The Last Temptation of Christ Style, Narrative, Adaptation: The Age of Innocence Power and the Look: Casino Cinema of Transcendence, Cinema as Transcendence: Kundun Back to Travis#2: Bringing Out the Dead Conclusion: 'Of course, there's less time...' Notes Bibliography

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Book SynopsisFramed by approaches in critical transnationalism, this volume examines crime as a cinematic mode moving within, between, and across national cinemas to provide rigorous accounts of the political, economic, and historical processes entangled in the production, circulation, and reception of crime films most frequently treated through the lens of genre. Filmic narratives of crime open a porous space of public discourse in which filmmakers and audiences project and reimagine relations of power. Transnational Crime Cinema studies the production and reception of films from Europe, Africa, East and South Asia, and South America present crime as a discursive site where the terms of the nation and cinema gain new definition. Considered transnationally, crime cinema is a self-reflexive modality through which cinema reflects upon cinema?s own discursivity while audiences negotiate ideologies and imaginaries of nation against disruptive transnational economic and political pressures.

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