Films, cinema Books

Book SynopsisHow does film affect the way we understand crises of the body and mind and how does it manifest other kinds of crises levelled at the spectator? This book offers vital scholarly analysis of the embodied nature of film viewing and the ways in which film deals with the question of loss, the healing body and its material registering of trauma.Trade Review'In this highly evocative book, Davina Quinlivan combines Melanie Klein's thought with film theory to argue that film and screen-based media can serve as reparative objects for their viewers, with the potential to heal and sustain hope. Compelling, touching, and poised, Quinlivan's prose is a joy to read.' Sarah Cooper, author of The Soul of Film Theory (Palgrave, 2013) 'Davina Quinlivan's writing offers itself as a rare and precious combination of advanced theoretical acumen with humaneness of vision. Quinlivan's empathy with her object of study is tangible and it enriches her theoretical elaboration and critical approach, revealing a deep analytical versatility. That this exploration of the restorative powers of cinema includes close and insightful readings of key films (from A Dangerous Method to Waltz with Bashir to The Tree of Life to name but a few films that have caught the attention in the recent years and feature prominently in this book) makes its reading all the more enjoyable and important.' Martine Beugnet, University of Paris 7 Diderot 'Filming the Body in Crisis will be a defining text of film studies for the 21st century, as Quinlivan remembers the body remembers our bodies as sentient, physical, pained, suffering, full of desire, sadness, hope, and possibility. Arguing deftly for film as an object of hope, this very book models how film scholarship when sensitive, intelligent, mindful, rigorous, poetic might also heal and offer hope. I am grateful for this monograph, to which I will undoubtedly return in my own scholarship and teaching.' Kristi McKim, Hendrix College, USA 'Can non-visual perceptions, such as touch or the physical sensations of breathing, be experienced through audio-visual representation? Through an emphasis on human experience and its representation, Davina Quinlivan calls what is invisible of the body's interactions with the world, replicated by the privileging of the image in theories of film spectatorship, into question. As a consideration of the history of film theory and of the memories that shape each viewing subject, Filming the Body in Crisis is insightful.' - Elizabeth I. Watkins, University of Leeds, UKTable of ContentsList of Figures Acknowledgements 1. Introduction 2. Resistance and Reparation: Steve McQueen's Hunger 3. Queer Bodies Between Hopefulness and Rebirth: Rewriting and Transforming the Matter of Bodies in True North (Isaac Julien) and Blue (Derek Jarman) 4. The Haunted House Egoyan Built: Archiving the Ghosted Body and Imagination in the Films of Atom Egoyan and the Art of Janet Cardiff 5. Cronenberg's Cure: A Dangerous Method, Spider and The Spectre of Psychosis in The Lost Explorer 6. The Softness of Her Hair and The Texture of Silk: The Mother's Body and Klein's Theory of 'Love, Guilt and Reparation' in The Tree of Life (Malick, 2011) 7. Remapping the Body of Hope: A Map of Emotion, Love and the Cartographic Image in Braden King's HERE (2011) 8. The Female Butterfly Collector: The Body in Crisis and the French cinema du corps Conclusion Postscript References Index

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

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Book SynopsisIntroduction: The Wonderful Worlds of Wes Anderson; Peter C. Kunze PART I 1. The Short Films of Wes Anderson; Nicole Richter 2. Cast of Characters: Wes Anderson and Pure Cinematic Characterization; Kim Wilkins 3. The Jellyfish and the Moonlight: Imagining the Family in Wes Anderson's Films; Steven Rybin 4. 'Max Fischer Presents': Wes Anderson and the Theatricality of Mourning; Rachel Joseph 5. 'Who's to Say?': The Role of Pets in Wes Anderson's Films; C. Ryan Knight 6. 'American Empirical' Time and Space: The (In)Visibility of Popular Culture in the Films of Wes Anderson; Jason Davids Scott PART II 7. From the Mixed-Up Films of Mr. Wesley W. Anderson: Children's Literature as Intertexts; Peter C. Kunze 8. A Shared Approach to Familial Dysfunction and Sound Design: Wes Anderson's Influence on the Films of Noah Baumbach; Jennifer O'Meara 9. Bill Murray and Wes Anderson, or the Curmudgeon as Muse; Colleen Kennedy-Karpat 10. Life on Mars or LTrade Review'Kunze's collection offers a broad array of critical responses to Wes Anderson's films - from their quirky sensibility, their portrayal of idiosyncratic characters, their relation to neoliberal fantasies, and the importance of music to Anderson's collaboration with Noah Baumbach. The Films of Wes Andserson is invaluable for bringing us much closer to understanding Anderson's significance as an American Indiewood filmmaker." - Warren Buckland, Reader in Film Studies, Oxford Brookes University, UK "Spanning a diverse range of perspectives on a figure who is now undoubtedly recognized as the icon of the indie era, this collection valuably complicates and challenges the generalized notions of Wes Anderson that characterize popular opinion. It is essential reading for anyone seeking to understand the work of this director as more than merely 'whimsical.'" - Claire Perkins, Film and Television Studies, Monash University, USA, and author of American Smart Cinema "Appropriately, the essays collected in this volume provide an array of perspectives on a filmmaker whose work consistently fights against isolation. It is fitting indeed that the first serious book-length exploration of Anderson's work is a truly collaborative effort. Including fourteen essays from fourteen distinct points of view, the reader comes away from Kunze's collection with a sense of the filmmaker and his unusually inclusive worldview, as well as a sense of respect for the power of a critical conversation (as opposed to the monologue)." - Devin Orgeron, Associate Professor, Director of Film Studies, North Carolina State University, USA, and author of "La Camera-Crayola: Authorship Comes of Age in the Cinema of Wes Anderson"Table of ContentsIntroduction: The Wonderful Worlds of Wes Anderson; Peter C. Kunze PART I 1. The Short Films of Wes Anderson; Nicole Richter 2. Cast of Characters: Wes Anderson and Pure Cinematic Characterization; Kim Wilkins 3. The Jellyfish and the Moonlight: Imagining the Family in Wes Anderson's Films; Steven Rybin 4. 'Max Fischer Presents': Wes Anderson and the Theatricality of Mourning; Rachel Joseph 5. 'Who's to Say?': The Role of Pets in Wes Anderson's Films; C. Ryan Knight 6. 'American Empirical' Time and Space: The (In)Visibility of Popular Culture in the Films of Wes Anderson; Jason Davids Scott PART II 7. From the Mixed-Up Films of Mr. Wesley W. Anderson: Children's Literature as Intertexts; Peter C. Kunze 8. A Shared Approach to Familial Dysfunction and Sound Design: Wes Anderson's Influence on the Films of Noah Baumbach; Jennifer O'Meara 9. Bill Murray and Wes Anderson, or the Curmudgeon as Muse; Colleen Kennedy-Karpat 10. Life on Mars or Life on the Sea: Seu Jorge, David Bowie, and the Musical World in Wes Anderson's The Life Aquatic with Steve Zissou; Lara Hrycaj PART III 11. The Andersonian, the Quirky, and 'Innocence'; James MacDowell 12. 'I Always Wanted to be a Tenenbaum': Class Mobility as Neoliberal Fantasy in Wes Anderson's The Royal Tenenbaums; Jen Hedler Phillis 13. Objects / Desire / Oedipus: Wes Anderson as Late Capitalist Auteur; Joshua Gooch 14. Systems Thinking in The Life Aquatic with Steve Zissou and Moonrise Kingdom; Laura Shackelford

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

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

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Book SynopsisThis first full-length scholarly study about animal horror cinema defines the popular subgenre and describes its origin and history in the West. The chapters explore a variety of animal horror films from a number of different perspectives. This is an indispensable study for students and scholars of cinema, horror and animal studies.Trade Review'From apes and alligators to arachnids and amphibians, this collection brilliantly maps movies that include animal as sources of fear. It is an original, ambitious and timely contribution to film studies, cultural studies, horror studies and animal studies.' - Justin D. Edwards, University of Surrey, UKTable of ContentsList of Figures Notes on Contributors Acknowledgements 1. Introduction; Katarina Gregersdotter, Nicklas Hallen and Johan Hoglund 2. A History of Animal Horror Cinema; Katarina Gregersdotter, Nicklas Hallen and Johan Hoglund 3. 'They are a fact of life out here': The Ecocritical Subtexts of Three Early-Twenty-First-Century Aussie Animal Horror Movies; Michael Fuchs. 4. Polluting and Perverting Nature: The Vengeful Animals of Frogs; Jennifer Schell. 5. Consuming Wildlife: Representations of Tourism and Retribution in Australian Animal Horror; Maja Milatovic 6. Oil and the (Geo)Politics of Blood: Towards an Eco-Gothic Critique of Nightwing; John Edgar Browning. 7. America, Down the Toilet: Urban Legends, American Society and Alligator; Craig Ian Mann 8. Re-Education as Exorcism: How a White Dog Challenges the Strategies for Dealing with Racism; Susan Schwertfeger. 9. We Spiders: Spider as the Monster of Modernity in the Big Bug and Nature-on-a-Rampage Film Genres; Niklas Salmose. 10. Concubines and Chameleons, Deconstruction and Consumption in Pu Songling's and Gordon Chan's Painted Skin; Myha Do 11. Frozen, The Grey, and the Possibilities of Posthumanist Horror; Dawn Keetley 12. Anthropomorphism and the Representation of Animals as Adversaries; Katarina Gregersdotter and Nicklas Hallen 13. Simian Horror in Rise and Dawn of the Planet of the Apes; Johan Hoglund Index

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Book SynopsisThis book explores representations of same-sex desire in Indian literature and film from the 1970s to the present. In this account, Oliver Ross challenges the preconception that, in the contemporary world, a grand narrative of sexuality circulates globally and erases all pre-existing narratives and embodiments of sexual desire.Trade Review"Oliver Ross brings fresh insight to the debates and texts he examines and undertakes some excellent exegeses of much-analyzed, as well as under-analysed texts. He bravely takes on the current received wisdom that gay identity is 'irremediably Eurocentric'; as he points out, practitioners of queer theory who propound this view exempt queer theory itself from Eurocentricity in a largely unexamined way." - Ruth Vanita, Professor of Liberal Studies, University of Montana, USA and co-editor of Same-Sex Love in India: Readings from Literature and HistoryTable of ContentsIntroduction 1. Contradictions or Syncretism? The Politics of Female-Female Desire in Deepa Mehta's Fire and Ligy J. Pullappally's Sancharram (The Journey)2. "Am I Lesbian?" The Contexts of Female-Female Desire in the Work of Kamala Das3. "The Bliss I Could Portray": Elliptical and Declamatory Male-Male Desire in the Work of Vikram Seth4. Communal Tensions: Homosexuality in Raj Rao's The Boyfriend and Neel Mukherjee's A Life Apart5. Transitional Mediations: Homosexuality in My Brother Nikhil, 68 Pages, and Quest/ThaangConclusion

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Book SynopsisNAMED ONE OF THE BEST COMEDY BOOKS OF 2023 AT VULTURESurely You Can''t Be Serious is an in-depth and hysterical look at the making of 1980''s comedy classic Airplane! by the legendary writers and directors of the hit film.Airplane! premiered on July 2nd, 1980. With a budget of $3.5 million it went on to make nearly $200 million in sales and has influenced a multitude of comedians on both sides of the camera.Surely You Can't Be Serious is the first-ever oral history of the making of Airplane! by the creators, and of the beginnings of the ZAZ trio (Zucker, Abrahams, Zucker) charting the rise of their comedy troupe Kentucky Fried Theater in Madison, Wisconsin all the way to premiere night. The directors explain what drew them to filmmaking and in particular, comedy. With anecdotes, behind the scenes trivia, and never-before-revealed factoids these titans of comedy filmmaking unpack everything from how they persu

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

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Book SynopsisPiotr Sadowski is a lecturer in humanities in Dublin Business School, Ireland. He is also a Visiting Research Fellow in the School of English at Trinity College Dublin, Ireland. Sadowski studied English at the University of Warsaw. Since 1991 he lives in Dublin, currently teaching film and drama in Dublin Business School. He is the author of six academic books on systems theory of literature and communication, medieval literature and Shakespeare.Trade ReviewOffers an illuminating exploration of the cinema’s ability to evoke a variety of responses from the depictions of interplay between light and shadows, the interplay that is itself a constituent part of the medium. Throughout the chapters the author proceeds to bring a welcome attention and a wealth of references to bear on an understudied aspect of cinematic history. * Early Popular Visual Culture *This book is an interesting work and an accomplished achievement, especially in allowing a coherent, understandable text to speak for itself. The appropriate visual analysis makes its case succinctly without relying on deliberate mystification that accompanied the early phases of semiotics. * Film International *This carefully crafted and beautifully illustrated book covers the topic comprehensively, culminating in a detailed and informative discussion of the classics of Weimar cinema. Piotr Sadowski’s expert knowledge of cinema history – evident on every page - is seamlessly woven into a much broader cultural history of the treatment of the shadow in the visual arts - from Caravaggio to Caligari. -- Michael Kane, Lecturer in Literature and Cultural Theory, Dublin Business School, IrelandA brilliant study of a seminal period in European cinematic history. It combines insightful aesthetic analysis and nuanced discussion of the socio-cultural background of Weimar Germany. After reading the book it is impossible to see cinematic light and shadows in the same way again, not only in viewing the movies of the Weimar period, but those which follow to the present day. -- Rory McEntegart, Academic Dean, American College Dublin, IrelandWho would have guessed there is so much substance in shadows? What makes shadows solid? How do artists manipulate them? These are some of the questions raised in Sadowski’s fascinating investigation into ‘the kingdom of shadows’. His solid research shows what the (un)intentional presence or absence of shade and shadow can add to how we ‘read’ Renaissance visual arts, Weimar cinema, Chinese shadow-theatre, the spiritual world and much much more. -- Olga Fischer, Professor Emeritus of English Linguistics, University of Amsterdam, The Netherlands.Sadowski’s elegantly written account of the use of light and shadow in German cinema of the Weimar era is a welcome reminder of the enduring artistry of this influential filmmaking era. Detailed and erudite, the author traces the use of the shadow as communication back to the ancient Greeks, through Caravaggio and Rembrandt, to Berlin in the 1920s. Always careful to contextualize, Sadowski interweaves a discussion of key historical events and artistic movements with intricate textual analysis. Thoughtfully argued and beautifully illustrated, this is an important contribution to semiotics as a discipline and to the history of film as art. -- Ruth Barton, Associate Professor in Film Studies, Trinity College Dublin, IrelandTable of ContentsAcknowledgements Introduction 1. Natural shadows, represented shadows: from optical phenomena to semiotic signs 2. Light and shadows in visual arts 3. Fixing iconic indexes 4. Light and shadows in early cinema 5. Weimar cinema: Expressionist light and shadows 6. Weimar cinema: light and shadows in the city Bibliography

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

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Book SynopsisJeffrey Richards is Emeritus Professor of Cultural History at Lancaster University, UK. He is the editor of the 'Cinema and Society' book series and author of a number of books on cinema and cultural history, including The Golden Age of the Pantomime (2014).Table of ContentsIntroduction and Acknowledgements 1. John Ford: the Enigmatic Genius 2. John Ford’s Ireland 3. John Ford’s Empire 4. John Ford’s Faith 5. John Ford’s Underworld 6. John Ford’s Wars 7. John Ford’s Navy Conclusion

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Book SynopsisSarah Falcus is a a Reader in Contemporary Literature at the University of Huddersfield. She is the co-author (with Katsura Sako) of Contemporary Narratives of Dementia: Ethics, Ageing, Politics and is the Primary Collaborator on the project 'Ageing and Illness in British and Japanese Children's Picturebooks 1950-2000: Historical and Cross-Cultural Perspectives', funded by the Japan Society for the Promotion of Science. She is also the co-director of the Dementia and Cultural Narrative Network. https://pure.hud.ac.uk/en/persons/sarah-falcusHeike Hartung has published widely in interdisciplinary ageing studies. Recent publications include Ageing, Gender and Illness in Anglophone Literature and Embodied Narration. She is a founding member of the European Network in Ageing Studies and co-editor of the Transcript Aging Studies publication series. http://www.heikehartung.de/en/Raquel Medina is Senior Lecturer in Spanish Studies at Aston University, UK. She has published numerous articles a

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Book SynopsisExamining fictional purgatorial worlds in contemporary literature, film and video games, this book examines the way in which the female characters trapped within them construct identity positions of resistance and change. With the rise of populism, the Alt. Right, and isolationism in world politics in the second decade of the 21st Century, parallel, purgatorial worlds seem to currently proliferate within popular culture across all media, including television shows and films such as The Handmaids Tale, Us, Watchmen, and Margaret Atwood''s The Testaments among many others. These texts depict alternate worlds that express the darkness and violence of our own, arguably none more so than for women. Featuring essays from a broad range of international contributors on topics as wide-ranging as mental health in the Silent Hill franchise and liminal spaces in the work of David Mitchell, this book is an original, timely and hope-filled analysis abou

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

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

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Book SynopsisMariana Liz is a Research Fellow at ICS-ULisboa, in Portugal. She is the author of Euro-Visions: Europe in Contemporary Cinema (2016) and co-editor of Women's Cinema in Contemporary Portugal (2020) and The Europeanness of European Cinema: Identity, Meaning, Globalization (2015).Trade ReviewThis collection of essays on Portuguese cinema is both proof of how studies of Portuguese cinema by now can be seen as constituting an established field, as well as an indispensable tool for further inquiries into a growing body of works ... it is certain to be considered required reading for some time to come. * Portuguese Studies *Table of ContentsIntroduction: Framing the Global Appeal of Contemporary Portuguese Cinema – Mariana Liz 1. Filming Narratives Becoming Events: Documentary and the ‘Emplotments’ of the Carnation Revolution – Luís Trindade 2. Our Beloved Month of August: Between the Filming of the Real and the Reality of Filming – Rui Gonçalves Miranda 3. Political Oliveira – Randal Johnson 4. Portugal, Europe and the World: Geopolitics and the Human Condition in Manoel de Oliveira’s Films – Carolin Overhoff Ferreira 5. Amália: Stories of a Singer and Tales of a National Cinema – Anthony de Melo 6. La Cage dorée: a Franco-Portuguese Comedy of Integration – Ginette Vincendeau 7. Portugal and Europe: Cinema and the City in a Postcolonial Context – Mariana Liz 8. Contextualizing Pedro Costa’s Digital Filmmaking – Nuno Barradas Jorge 9. Broken Links: The Cinema of Teresa Villaverde – Cristina Álvarez López and Adrian Martin 10. Mysteries of Raúl Ruiz’s Portugal: Territory, Littoral and Memory Bridge – Michael Goddard 11. White Faces / Black Masks: The White Woman’s Burden in Pedro Costa’s Down to Earth – Hilary Owen 12. Light Drops: Portugal Critically Reviewing the Colonial Past? – Paul Melo e Castro 13. Colonialism as Fantastic Realism in Tabu – Lúcia Nagib 14. Luso-Brazilian Co-Productions: Rescue and Expansion – Natália Pinazza

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Book SynopsisDjoymi Baker is Lecturer in Cinema Studies at RMIT University, Australia.With a background in the television industry, she writes on myth in popular culture, film and television genres, the ethics of non-human representation, and children's screen cultures. She is the co-author of The Encyclopedia of Epic Films (2014).Trade ReviewThis is lively, engaging academic writing at its very best … Summing Up: Highly recommended. * G.A. Foster, University of Nebraska-Lincoln, CHOICE *Table of ContentsIntroduction Chapter 1: Myth & Early US TV Chapter 2: The New Mythology Chapter 3: Star Trek Title Sequences As Cosmology Chapter 4: Fans, Bards, & Rituals Conclude… Then Reboot Afterword Index

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Book SynopsisHere, Darren Elliot-Smith examines how alternative sexualities have recently emerged from the shadows in horror films and television programmes, with directors and producers employing an overtly queer horror aesthetic that unequivocally references homosexuality. Elliot-Smith case studies consider many forms of the queer horror genre: independent exploitation films ( A Far Cry from Home ), slashers ( Hellbent ) and even the representation of contemporary gay zombies in LA Zombie . Elliott-Smith deviates from analyzing the monster as a symbol of heterosexual fear and focuses instead on queer anxieties within gay male subcultures. Furthermore, he examines key works to reveal gay men's concerns about their assimilation into Western culture, their continuing association with the feminine, and the perpetuation of gay shame.

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Book SynopsisPamela Thurschwell is Professor of Modern and Contemporary Literature and Unhistoric Acts at the University of Sussex, UK. She is the author of Literature, Technology and Magical Thinking, 18801920 (2001) and Sigmund Freud (2000) and the editor of Quadrophenia and Mod(ern) Culture (2017). She has published widely on 19th, 20th and 21st-century literature, adolescence, and culture including Henry James, Taylor Swift, and Bojack Horseman.

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Book SynopsisThis study examines the reception of Cleopatra from the beginning of the 20th century to the present day as it has been reflected in popular culture in the United States of America. Daugherty provides a broad overview of the influence of the Egyptian queen by looking at her presence in film, novels, comics, cartoons, TV shows, music, advertising and toys. The aim of the book is to show the different ways in which the figure of Cleopatra was able to reach a large and non-elite audience.Furthermore, Daugherty makes a study of the reception of Cleopatra during her own lifetime. He begins by looking at her portrayal in the vicious propaganda campaign waged by Octavian against his rival Marc Antony. The consequence was that Cleopatra was left with a tarnished reputation after the civil war. Daugherty's examination of both the historical and contemporary reception of Cleopatra shows the enduring legacy of one of history's most remarkable queens.

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Book SynopsisAjay Gehlawat is Professor of Interdisciplinary Studies, Theatre and Film at Sonoma State University, USA. He is author of Twenty-First Century Bollywood (2015) and Reframing Bollywood (2010). He is the editor of The Slumdog Phenomenon (2013) and co-editor of the Routledge Handbook of South Asian Cinemas (2026).

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Book SynopsisDrawing from social theory and the anthropology of religion, this book explores popular media's fascination with dreams, vampires, demons, ghosts and spirits. Dreams, Vampires and Ghosts does so in the light of contemporary animist studies of societies in which other-than-human persons are not merely a source of entertainment, but a lived social reality.Films and television programs explored include Buffy the Vampire Slayer, Twin Peaks, Bram Stoker's Dracula, Truly Madly Deeply and the films of Hitchcock. Louise Child draws attention to how they both depict and challenge ideas and practices rooted in psychology, while quality television has also facilitated a wave of programming that can explore the interaction of characters in complex social worlds over time. In addition to drawing on theories of film from Freudian psychology and feminist theory, Dreams, Vampires and Ghosts uses approaches derived from a combination of Jungian fil

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Book SynopsisSamuel Goff is Affiliated Lecturer in Slavonic Studies at the University of Cambridge, UK. He is Editorial Director of the film platform Klassiki, and a former editor at The Calvert Journal.

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Book SynopsisAddie Tsai is a queer nonbinary artist and writer of colour who teaches creative writing at William & Mary, US. They also teach on the MFA Program in Interdisciplinary Arts at Goddard College, US, and the Mile High MFA Program in Creative Writing at Regis University, US. They collaborated with Dominic Walsh Dance Theater on Victor Frankenstein and Camille Claudel, among others. They earned a Ph.D. in Dance from Texas Woman's University, US. They are the author of Dear Twin and Unwieldy Creatures and have had articles published or forthcoming in LO:TECH:POP:CULT: Screendance Remixed, The Bloomsbury Handbook of Dance and Philosophy, The International Journal of Screendance and Slapstick: An Interdisciplinary Companion.

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Book SynopsisMaria Wyke is Professor of Latin at University College London, UK. She is author of Caesar in the USA (2012), The Roman Mistress: Ancient and Modern Representations (2000), and Projecting the Past: Ancient Rome, Cinema and History (1997).Monika Wozniak is Associate Professor of Polish Language and Literature at Sapienza University of Rome, Italy. She is author of Ebbs and Flows: Quo Vadis by Henryk Sienkiewicz in the Italian Literary and Cultural Circuit (2024) and, with Maria Wyke, co-editor of The Novel of Neronian Rome and its Multimedial Transformations (2020).

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Book SynopsisArturo Sánchez Sanz is a Postdoctoral Fellow in Classics at Complutense University of Madrid, Spain, and Lecturer in Humanities and Social Sciences at Isabel I of Castile International University, Spain.

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Book SynopsisUsing the same humor and honesty that galvanized more than a million online readers from more than 200 countries, speaker Jon Acuff brings his insightful take on Christianity to the book world with this new edition of Stuff Christians Like. Do you constantly find yourself towing the fine line between praying before certain types of meals and not others? This book is for you. Have you fallen in love on a mission trip, just to break up when you get home? This book is for you. Are you a unicorn of purity who ranks honeymoon sex slightly higher than the second coming of Christ? Guess what – this book is for you, too.It’s time to shake off Somber Christian Syndrome and embrace the quirks of being a member of God’s kingdom. This book will teach you how to: Break up with your small group Subtly find out if your new Christian friends drink beer too Recognize the shame grenade that is a Jesus

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Book SynopsisDEBORAH CARTMELL is Reader in English at De Montfort University, UK. She is editor of the journals Shakespeare and Adaptation and has published widely on film adaptations of literary classics.IMELDA WHELEHAN is Professor of English and Women's Studies at De Montfort University, UK. She is the author of Modern Feminist Thought, Helen Fielding's Bridget Jones' Diary and The Feminist Bestseller. She is co-editor of the journal Adaptation and has published widely on adaptation studies.

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Book SynopsisToday's most celebrated young writers pay tribute to the beloved teen movies that defined the 80s

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Table of ContentsAcknowledgments Introduction Introduction to the Second Edition Part One Storytelling: A Tale of Two Generations Chapter 1 Storytelling for the 21st Century Chapter 2 The First Wave of Digital Storytelling Chapter 3 The Next Wave of Digital Storytelling Platforms Part Two New Platforms for Tales and Telling Chapter 4 Storytelling with the Technology Formerly Known as Web 2.0 Chapter 5 Social Media Storytelling Chapter 6 Gaming: Storytelling on a Small Scale Chapter 7 Gaming: Storytelling on a Large Scale Part Three Combinatorial Storytelling; or, The Dawn of New Narrative Forms Chapter 8 No Story Is a Single Thing; or, The Networked Book Chapter 9 Mobile Devices: The Birth of New Designs for Small Screens Chapter 10 Chaotic Fictions; or, Alternate Reality Games Chapter 11 Augmented Reality: Telling Stories on the Worldboard Chapter 12 Storytelling through Virtual Reality Part Four Building Your Story Chapter 13 Story Flow: Practical Lessons on Brainstorming, Planning, and Development Chapter 14 Communities, Resources, and Challenges Chapter 15 Digital Storytelling in Education Chapter 16 Coda: Toward the Next Wave of Digital Storytelling Notes Bibliography Index

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