Films, cinema Books

Book SynopsisJenna Ng is Anniversary Research Lecturer in Film and Interactive Media at the University of York, UK. She was previously a Newton Trust/Leverhulme Early Career Fellow at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), University of Cambridge, UK.Trade ReviewThis welcome anthology helps usher machinima out of the gamer niche and into the nexus of digital animation, cinema, and art video. As the chapters of this book demonstrate, machinima realizes new ways of documenting and archiving the mediality of our set-up, far beyond the early ambitions of entertainment convergence. * Peter Krapp, Professor & Chair, Film & Media Studies, University of California, Irvine, US *Understanding Machinima is a timely and much needed intervention in Machinima studies. Comprising an excellent range of contributors, this collection focuses on Machinima's diversity of use at the same time as it considers its many media specificities, making it a necessary resource to any scholar working in the field. * Leon Gurevitch, Senior Lecturer, The School of Design, Victoria University of Wellington, New Zealand *Understanding Machinima: Essays on Filmmaking in Virtual Worlds, is personable yet edgy, conversational yet controversial. The chapters draw on personal reflection, Spinal Tap, mixed reality, Sesame Street, Bakhtin’s dialogic theory, Chaucer, Iraq, First Nations, and psychoanalysis, yet they are clear and lucid. I found much to engage with, and even more to debate with. The field of machinima scholarship is small but engaging, and Understanding Machinima is a worthy contribution. * Erik Champion, Digital Humanities Lab Denmark, Aarhus University, Denmark *As machinima has evolved an intersected with many different media, the study of machinima has become increasingly interdisciplinary. With this study, Ng (Univ. of York, UK) erases many of the boundaries that existed around the study of this art form to explore machinima as ‘less a discrete, distinguishable media form than a fluid dialogue of and between media.’ The second major theme of the collection is ‘the diversity of this machinima world and how it sands against all other ralities – physical animated, virtual, blended, hybrid, augmented.’ The collection gives equal attention to the theoretical and the practical, offering readers a divers selection of perspectives on machinima and related media. Some chapters take a fairly standard approach and examine machinima as digital puppetry and machinima in a First Nations context. This title would make an excellent complement to introductory texts on machinima because it offers a timely exploration of many aspects of machinima that will not be found in most other works on the subject. Summing Up: Highly recommended. Upper-division undergraduates through faculty. -- B. H. McMillin, Pratt Institute * CHOICE *Table of ContentsAcknowledgements Preface Henry Lowood Introduction Jenna Ng I. Thinking Machinima 1. Machinima: Cinema in a minor or multitudinous key? William Brown and Matthew Holtmeier 2. Beyond Bullet Time: Media in the knowable space Chris Burke 3. Be(ing)Dazzled: Living in machinima Sheldon Brown 4. Moving Digital Puppets Michael Nitsche, Ali Mazalek and Paul Clifton 5. Facing the Audience: A dialogic perspective on the hybrid animated film Lisbeth Frølunde 6. Dangerous Sim Crossings: Framing the Second Life art machinima Sarah Higley II. Using Machinima 7. The Art of Games: Machinima and the limits of art games Larissa Hjorth 8. Playing Politics: Machinima as live performance and document Joseph DeLappe 9. Virtual Lens of Exposure: Aesthetics, theory, and ethics of documentary filmmaking in Second Life Sandra Danilovic 10. Call It a Vision Quest: Machinima in a First Nations context Beth Aileen Dillon and Jason Edward Lewis 11. World of Chaucer: Adaptation, pedagogy, and interdisciplinarity Chris Moore and Graham Barwell 12. A Pedagogy of Craft: Teaching Culture Analysis with machinima Jenna Ng and James Barrett Agency, Simulation, Gamification, Machinima: An interview with Isabelle Arvers Isabelle Arvers and Jenna Ng Notes on Contributors Glossary Index

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Book SynopsisOffers a feminist introduction to Gilles Deleuze's work on cinema that proposes a way of thinking about the cinematic viewing experience by exploring it as a bodily and emotional experience. This book introduces Deleuze and Felix Guattari's concept of the assemblage and uses it to understand the relationship between film and viewer.Trade ReviewA highly readable feminist introduction to Deleuze's Cinema volumes by foregrounding the bodily and affective nature of the cinematic viewing experience ... Rizzo's book is undoubtedly a valuable contribution to both Deleuze and feminist film studies -- Sergey Toymentsey * Film Criticism *[An] accessible and interesting book ... [Deleuze and Film] provides a compelling method for identifying films that challenge static gender categories. As such, the book will doubtless be a useful tool for feminist researchers wanting to pursue questions of spectatorship -- Janice Loreck, Monash University, Australia * New Review of Film and Television Studies *‘Both an accessible introduction to Deleuze's cinema philosophy and a major advance in feminist film theory, this is a tour de force of lucid and creative thought. Rizzo's focus on the body of the viewer provides a provocative reconfiguration of Deleuze's cinematic taxonomy while opening lines of inquiry beyond the psychoanalytic models and theories of spectatorship currently dominant in film theory. An essential contribution to the field.' -- Ronald Bogue, Distinguished Research Professor at University of Georgia, USA and author of Deleuze on Cinema (Routledge)‘In Deleuze and Film: A Feminist IntroductionTeresa Rizzo presents us with a ‘third Deleuze', that is a Deleuze who is a cineaste and a feminist. In this way we are given not only a new and rich introduction to Deleuze's thinking and writing on film, but also a provocative rethinking of his work from the perspectives of gender and film-making. This is an important intervention into the growing body of work on the intersection between Deleuze and cinema.' -- Ian Buchanan, Editor of Deleuze StudiesTable of ContentsIntroduction; 1. The Cinematic Apparatus and the Transcendental Subject; 2. Re-thinking Representation: New Lines of Thought in Feminist Philosophy; 3. Cinematic Assemblages: An Ethological Approach to Film-viewing; 4. The Slasher Film: A Deleuzian Feminist Analysis; 5. The Alien Series: Alien-Becomings, Human-Becomings; 6. The Molecular Poetics of the Assemblage: Before Night Falls; Conclusion: A Feminist Cinematic Assemblage; Bibliography; Index.

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Book Synopsis Richard Nowell, currently lecturing in Prague, has taught for the University of Miami, University of Salford, UK, University of East Anglia, UK, and University of Heidelberg, Germany. He has essays published or forthcoming in, among others, the Journal of Film and Video, Cinema Journal, Post Script, and the New Review of Film and Television Studies, and he is currently guest editing a special English-language edition of the Czech Replublic's leading film studies journal, Iluminace, on the subject of genre and the movie business. Trade Review"Richard Nowell's meticulously researched, engagingly presented and forcefully argued study offers new insights into how films, filmmaking and film marketing operated in the North American film industry of the 1970s and early 1980s. It is an exemplary piece of work, which will hopefully inspire other scholars to work along similar lines." - Peter Kramer, Senior Lecturer in Film Studies, University of East Anglia, UK; author of The New Hollywood: From Bonnie and Clyde to Star Wars (2005)."Table of ContentsIntroduction: "Co-Ed Frenzy"; Chapter One; "There's more than one way to lose your Heart":; The Teen Slasher Film - Film-type, Industry Strategies and Film Cycle; Chapter Two; A Slay Ride to Small-Town U.S.A.:; The Emergence and Early Development of the Teen Slasher Film - Black Christmas (1974) and Halloween (1978); Chapter Three; "They were Warned... They are Doomed":; The Development of the Teen Slasher Film, Variant One - Friday the 13th (1980); Chapter Four; Murder on the Dance Floor:; The Development of the Teen Slasher Film, Variant Two - Prom Night (1980); Chapter Five; The Animal House on Sorority Row:; The Establishment of the Teen Slasher Film, 1980-1981; Conclusion: "Time after Time"; Filmography; Bibliography; Index.

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Book SynopsisTable of ContentsIntroduction, Jørgen Bruhn, Anne Gjelsvik, and Eirik Frisvold Hanssen \ Part I: Rethinking the Core Questions \ 1. Theorizing Adaptations/Adapting Theories, Kamilla Elliott \ 2. Adaptation and Adaptive Revision: The Problem of Textual Identity, John Bryant \ 3. Dialogizing Adaptation Studies: From One Way Transport to a Dialogic Process, Jørgen Bruhn \ 4. Adaptation as Connection: Transmediality Reconsidered, Regina Schober \ 5. Adaptations within the Field of Media Transformations, Lars Elleström \ 6. Imaginary Museums: André Bazin, Film Theory and Adaptation, Eirik Frisvold Hanssen \ 7. What Movies Want, Tom Leitch \ Part II: Theorizing the Case-Study \ 8. The Medium Strikes Back: 'Impossible Adaptation' Revisited, Hajnal Kiraly \ 9. 'Pre-Texts': The Notebook Case (Bergman), Anna Sofia Rossholm \ 10. Tracing the Original: The Film Invictus and "Based on a True Story" Adaptation, Sara Brinch \ 11. What Novels Can Tell That Movies Can't Show, Anne Gjelsvik \ 12. Literature Through Radio: Distance, Silence and Media Archaeology: The War of the Worlds 1938/1898, Jonas Ingvarsson \ Bibliography \ Index.

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Book SynopsisFor more than a century, original music has been composed for the cinema. From the early days when live music accompanied silent films to the present in which a composer can draw upon a full orchestra or a lone synthesizer to embody a composition, music has been an integral element of most films. By the late 1930s, movie studios had established music departments, and some of the greatest names in film music emerged during Hollywood's Golden Age, including Alfred Newman, Max Steiner, Dimitri Tiomkin, and Bernard Herrmann. Over the decades, other creators of screen music offered additional memorable scores, and some composerssuch as Henry Mancini, Randy Newman, and John Williamshave become household names. The Encyclopedia of Film Composers features entries on more than 250 movie composers from around the world. It not only provides facts about these artists but also explains what makes each composer notable and discusses his or her music in detail. Each entry includesBiographical materiTrade ReviewHischak offers a unique combination of opinion and painstaking research. The author asserts that film composers deserve further recognition for their influence and contributions. His objective is to fill a gap, covering hundreds of lesser-known composers. Included are 252 individuals who either created a significant number of film scores or who mainly composed in other genres but also had notable film score success. Each entry includes a biography; a discussion of the subject's work that includes Hischak's perspective on, for example, which piece was most memorable; feature film credits, including Academy Award, British Academy of Film and Television Arts, and the Golden Globe Award nominations and wins; the director; and country where the movie was produced. It's critical to read the book's introduction to understand that if an artist created the score with three or more composers, for example, it was not included on the list. Closing the volume are comprehensive name and title indexes, necessary for a book with so much detail. Verdict: Hischak's offering presents a wide scope of composers, and anyone who loves film and has previous knowledge of music and/or film will be delighted by its content. * Library Journal *This hefty volume focuses solely on the creators of movie music. From the early silent films to today's blockbusters, accompanying music often draws as much attention as the films themselves and sometimes outlives the pictures in both popular culture and film history. Herein are more than 250 alphabetically arranged entries on composers from all over the world, covering the entire spectrum of cinema history. Entries are generally a few pages in length and contain biographical information, chronological career highlights, and an analysis of the musical style of the composer, and they end with a comprehensive list of film scores. This list is also valuable for indicating the director(s) and country of production for each film as well as any awards won by the composer or nominations for awards. Alternative or English titles are given for foreign films, if any. Although a smattering of composers here will be recognizable to the general user - Henry Mancini, Marvin Hamlisch, and Randy Newman, perhaps - most will likely be unknown. For example, who was responsible for the memorable music in The Wizard of Oz, Psycho, Gone with the Wind, and Lawrence of Arabia? This tome provides the detailed answers: Herbert Stohart, Bernand Herrmann, Max Steiner, and Maurice Jarre, respectively. A user can quickly see what other film scores these composers are responsible for and examine the arc of their careers. Other features include some black-and-white pictures and both a name and title index for quickly locating a particular film or person. . . .The Encyclopedia of FIlm Composers is recommended as an interesting addition to the reference collection of academic and public libraries and anywhere film is being studied. * Booklist *This sizeable volume is another well-executed encyclopedia compiled by Hischak, author of many notable works, such as American Literature on Stage and Screen and Broadway Plays and Musicals. Often overlooked, film composers are a crucial part of cinema even during the era of silent films. Only a handful are well known, however, with name recognition usually occurring only when a film produces a hit song (as with Goldfinger or Born Free). Hischak pays both the famous and little-known homage by including over 250 composers from the US and abroad. Entries provide poignant bibliographical details and point out important chronological and contextual information along with musical influences. An added bonus is an analysis of each composer's musical style and work outside film. Each listing focuses on an individual who is the sole composer (or one of a pair) of a film score. The author highlights strong associations between major film directors and composers, including only full-length films or documentaries released in major theaters. A complete list of a composer's film credits follows each entry, and a title-name index and bibliography complete the volume. Hischak has produced a fine reference work for all interested in film composers and their music. Summing Up: Highly recommended. Undergraduates and above; general readers; professionals/practitioners. * CHOICE *Paying homage to those often-forgotten composers whose music serves as the backdrop of film, this encyclopedia focuses on 252 composers who have contributed significantly to movie music. Some entries feature artists who composed songs, but this is predominantly a collection of composers of film scores. Major film composers are covered, but this work attempts to give attention to Hollywood and foreign film composers often left out of other treatments on the subject. Entries provide biographical information, descriptions of the composer’s career and musical style, and a complete list of film score credits. Only films in which the individual is listed as the primary composer or one of two composers are listed. For the common reader, the encyclopedia provides a few surprises such as an entry on Charlie Chaplin, who scored some of his own films decades after their release. Familiar names in jazz appear as entries as well. Featured in this work is more than a century of composers who have provided original music for silent films to contemporary movies. * American Reference Books Annual *Having seen many of the encyclopedias and dictionaries of film music and their composers over the past several years, I must say that this stands out for its volume and detail. The film title and name indices themselves are priceless; I highly recommend this tome as an essential addition to any music and movie print reference collection. * s *The Encyclopedia of Film Composers remains a success for both its author and its readers. Hischak succeeds in his stated purpose of drawing much needed attention to the work of film composers, and the reader is left with a highly readable reference text, teeming with insight into the composition of many major and minor film scores. * Film Matters *Table of ContentsAcknowledgments Introduction Format for Entries Abbreviations Film Composers Bibliography Title Index Name Index About the Author

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Book SynopsisBorn in Ireland in 1932, Peter O'Toole was one of Hollywood's most highly regarded actors. O'Toole's rise to stardom began in 1962, when he played T.E. Lawrence in Lawrence of Arabia. He went on to appear in such critically heralded films as Becket (1964) and The Lion in Winter (1968). Later successes include My Favorite Year (1982) and Venus (2006). After battling a long illness, O'Toole died peacefully at the age of 81 in a London hospital on 14 December 2013.Trade ReviewReading this book, I was given the impression that the author was writing while jumping on a trampoline, soaring, singing, flying, with horizontal and vertical landings, and occasionally standing still and quietly mewling. . . . A vastly entertaining, sometimes exasperating, highly literate comic work. -- Malachy McCourt * The New York Times Book Review *

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Trade ReviewA charming and entertaining read by a born storyteller * Sunday Express *Table of ContentsCome of Age Come to Terms No Laughing Matter OHMS Travelling Two Ingrids A Girl I Knew A Family Matter On Loneliness Touch-Down Author's Note A Note on the Author

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Book SynopsisBritish cinema has been far richer and more diverse than is generally recognized, as this collection of key writings on British film culture from the conversion to sound in the late 1920s to the 1990s testifies. Dissolving Views brings together a number of important and influential essays and the light they throw on 70 or so years of British cinema history makes this volume a vital, provocative and highly informative collection.Table of Contents1. Introduction Andrew Higson 2. Hitchcock’s British Films Revisited Charles Barr 3. The Production Designer and the Gesamtkunstwerk: German Film Technicians in the British Film Industry of the 1930s Tim Bergfelder 4. Engendering the Nation: British Documentary Film 1930-1939 Kathryn Dodd and Philip Dodd 5. Neither Here Nor There: National Identity in Gainsborough Costume Drama Pam Cook 6. The Quality Film Adventure: British Critics and the Cinema, 1942-1948 John Ellis 7. From Holiday Camp to High Camp: Women in British Feature Films, 1945-1951 Sue Harper 8. Victim: Text as Context Andy Medhurst 9. Space, Place, Spectacle: Landscape and Townscape in the ‘Kitchen Sink’ Film Andrew Higson 10. Landscapes and Stories in the 1960s British Realism Terry Lovell 11. The British Avant-Garde and Art Cinema from the 1970s to the 1990s Michael O’Pray 12. A Post-National European Cinema: A Consideration of Derek Jarman’s The Tempest and Edward II Colin MacCabe 13. Beyond ‘The Cinema of Duty’? The Pleasures of Hybridity: Black British Film of the 1980s and 1990s Sarita Malik 14. Crossing Thresholds: The Contemporary British Woman’s Film Justine King 15. The Heritage Film and British Cinema Andrew Higson Bibliography Index

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Book SynopsisFrom actor Cary Elwes, who played the iconic role of Westley in The Princess Bride, comes the New York Times bestselling account and behind-the-scenes look at the making of the cult classic film filled with never-before-told stories, exclusive photographs, and interviews with costars Robin Wright, Wallace Shawn, Billy Crystal, Christopher Guest, and Mandy Patinkin, as well as author and screenwriter William Goldman, producer Norman Lear, and director Rob Reiner.     The Princess Bride has been a family favourite for close to three decades. Ranked by the American Film Institute as one of the top 100 Greatest Love Stories and by the Writers Guild of America as one of the top 100 screenplays of all time, The Princess Bride will continue to resonate with audiences for years to come.     Cary Elwes was inspired to share his memories and give fans an unprecedented look into the creation of the

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Book SynopsisTrade Review...one unforgettable voyage...under a captain whose words may echo in your mind and whose attitude may inform your spirit for the rest of your life. * The Times (UK) *An impressive writer. Like Fitzgerald, Hayden is a romantic. His writing about the sea evokes echoes of Conrad and McFee, of London and Galsworthy...Beautifully done. * Los Angeles Times *A superb piece of writing...Echoes from Poe and Melville to Steinbeck and Mailer. A work of fascination on every level. * New York Post *Hayden's wonderful autobiography Wanderer ...should be in every main salon aboard every boat. Hayden's life can't be emulated, but it is instructive * Ocean Navigator *Table of ContentsIntroduction to the 1977 Edition Book I: Man at Bay Book II: Outward Bound Book III: Exile from Oblivion Book IV: Ironed Wanderer Book V: Abysmal Voyage Book VI: Cold Star Blazing

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Book SynopsisA captivating, seductive and monumental celebration of the life and career of one of the greatest actors of the 20th century.

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Book SynopsisHere at last is the complete story of Dana Andrews (19091992): a great actor who struggled to overcome alcoholism while enjoying the accolades of his contemporaries, a successful term as president of the Screen Actors Guild, and the love of family and friends that never deserted him.

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Book SynopsisKeith McDonald holds a PhD from Birkbeck College, University of London, UK, and is the Head of Programme for Media, Film Studies and Mass Communications at York St John University, UK. His research interests include popular culture, cult cinema and digital media.Roger Clark taught literature and film in UK Universities for over thirty years and has published on contemporary fiction and film. He was Senior Lecturer in Literature Studies at York St John University, UK, where he is currently Honorary Research Fellow in the Faculty of Arts.Trade ReviewAs a scholar of del Toro myself, [after reading Film as Alchemic Art] I found my understanding of this filmmaker enriched by readings of his works that I had never considered and furthermore, my comprehension of contemporary auterism expanded. [...] McDonald and Clark's book lays a solid foundation for whatever work may follow in this impressive and comprehensive reading of del Toro's cinema. -- Ian Pettigrew, University of Miami * Cinema Journal *In this study, McDonald and Clark achieve a comprehensive and scholarly examination of the director and his cinema. In a thoroughly researched account of del Toro’s literary and cinematic influences, his experimentation with genre, the trans-national quality of his work and his self-identification as a fan, the authors build a sharp and fascinating portrait of del Toro. To this they add a series of lucid and critical readings of the director’s films that show an admirable command of del Toro’s multi-generic and multicultural points of reference. Building the study around the apposite metaphor of del Toro as alchemist, McDonald and Clark’s study captures the person and the work brilliantly, combining exhaustive research with an evident enthusiasm for the subject matter. The result, as alchemical as del Toro’s cinema, is an in-depth yet highly approachable book that will appeal to scholars and fans alike. -- Sheldon Penn, Lecturer in Latin American Studies, University of Leicester, UK.A lucid, rigorous mid-career study of Guillermo del Toro’s films, Guillermo del Toro: Film as Alchemic Art is critical reading for students and scholars of del Toro’s cinematic oeuvre. McDonald and Clark situate del Toro’s films as transnational, hybrid narratives informed by traditional and non-traditional styles as well as the fantasy and horror genres and auteurist tradition. The result is a nuanced portrait of the transformative nature or “alchemic art” of del Toro’s narratives, which the authors point out feature “counter-narratives,” non-Hollywood endings, and imagery that is alternately brutal and beautiful. This hybrid, “accented” cinema illustrates the mystery, violence, and transformations inherent in the stories del Toro tells. -- Juli A. Kroll, Associate Professor of Spanish, University of St. Thomas, USAThis is as good an account of del Toro’s influences, preoccupations and films as one could hope for. It combines detailed analysis of the films with a wide-ranging examination of the cultural context of his work, including cinematic, literary and artistic influences, as well as considering him from the perspectives of transnational cinema, queer cinema, and the rich relationship that he has with the world of fandom. A well informed, lucid and stimulating study. -- Andrew Tudor, Emeritus Professor of Film and Television, University of York, UKTable of ContentsAcknowledgments Introduction Part 1 Chapter 1. Influences and Intertexts Chapter 2. Accented Fantasy and the Gothic Perverse Chapter 3. Fan as Filmmaker Part 2 Chapter 4. Twisted Genres: Cronos and Mimic Chapter 5. Trauma – Childhood –History: The Devil’s Backbone and Pan’s Labyrinth Chapter 6. Gothic Superheroes: Blade II, Hellboy and Hellboy II: The Golden Army Chapter 7. From Development Hell to the Pacific Depths: The Strain and Pacific Rim Bibliography Filmography and Comicography Index

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Book SynopsisDavid Deamer is Associate Lecturer in film at Manchester Metropolitan University, UK. He has published in Martin-Jones and Brown's Deleuze and Film; Bell and Colebrook's Deleuze and History; Deleuze Studies; and the online A/V Journal, of which he was co-founder. He blogs on Deleuze and cinema at www.daviddeamer.com.Trade ReviewThis ambitious book brings together three different constellations: the national cinema of Japan; the atom bombs thrown on Hiroshima and Nagasaki; and Deleuze. Surprising though this may sound, the book patiently and expertly weaves these three strands together to the point of making us feel that the Deleuzian cineosis was conceived to address precisely this kind of historico-cinematic encounter. Moving away from reductive ideas of genre, Deamer tackles the complexity of a wide and extremely varied body of films united by the catastrophe of the atom bomb, allowing for a re-evaluation of forgotten gems as well as celebrated masterpieces. Unveiling not one but many Japans, this book testifies to the enduring power and infinite uses of Deleuze’s vision of cinema. -- Lúcia Nagib, Professor of Film, University of Reading, UKDeamer’s study is exemplary in its interweaving of film and philosophy. From a philosophical perspective, the book provides a clear, rigorous, and concrete reading of Deleuze’s semiotics of cinema and its philosophical grounds. From a cinematic perspective, the book provides a fascinating, detailed study of Japanese cinema, demonstrating the continuing importance of the event of Hiroshima. It provides a thoroughly convincing case for the importance to Japanese cinema of the atom bomb, and the importance to the analysis of cinema more generally of Deleuze’s philosophy of film. Highly recommended. -- Henry Somers-Hall, Senior Lecturer in Philosophy, Royal Holloway, University of London, UKDeleuze, Japanese Cinema, and the Atom Bomb: The Spectre of Impossibility is a well written, clear, insightful and always to-the-point examination of the ways in which Japanese cinema has (and has not) dealt with the atomic bombs ... I congratulate Deamer for both the depth and the breadth with which he approaches this challenging topic ... Deamer writes fluidly, organises his thoughts clearly and displays a profound familiarity with the films that he has chosen as his examples. As a result, the book is a thoroughly pleasant, if demanding, reading experience. * Akira Kurosawa info *Table of ContentsList of tables List of images Acknowledgements Introduction: event, cinema, cineosis 1. Special images, contingent centres Movement-images: Bergson, sensory-motor process The Effects of the Atomic Bomb on Hiroshima and Nagasaki (Ito Sueo, 1946) Children of the Atom Bomb (Shindo Kaneto, 1952) Godzilla (Honda Ishiro, 1954) 2. Horizons of history Action-images: Nietzsche, history Terror of Mechagodzilla (Honda Ishiro, 1975) Lucky Dragon No. 5 (Shindo Kaneto, 1959) Barefoot Gen (Masaki Mori, 1983) Nausicaa of the Valley of the Wind (Hayao Miyazaki, 1984) Akira (Katsuhiro Otomo, 1988) 3. Traces: symptoms and figures Impulse-images; reflection-images: Peirce, semiosis The Naked Island (Shindo Kaneto, 1960) Dead or Alive (Takashi Miike, 1999) Ring (Nakata Hideo, 1998) Kwaidan (Kobayashi Masaki, 1964) The Face of Another (Teshigahara Hiroshi, 1966) Navel and A-bomb (Eikoh Hosoe, 1960) Tetsuo (Shinya Tsukamoto, 1989) Face of Jizo (Kuroki Kazuo, 2004) 4. Consummation (and crisis) Mental-images: Bergson, memory I Live in Fear (Kurosawa Akira, 1955) Rashomon (Kurosawa Akira, 1950) Dreams (Kurosawa Akira, 1990) Rhapsody in August (Kurosawa Akira, 1991) 5. Impure anarchic multiplicities Time-images: Deleuze, syntheses of time Casshern (Kiriya Kazuaki, 2004) The Pacific War (Nagisa Oshima, 1968) A History of Postwar Japan as Told by a Bar Hostess (Imamura Shohei, 1970) Black Rain (Imamura Shohei, 1989) Hiroshima (Sekigawa Hideo, 1953) Conclusion: spectres of impossibility Notes Index Select bibliography Select filmography

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Book SynopsisThe last decade has seen a transformation of journalism industries and the working lives of our journalists. Do the changes have the same impact everywhere? Do journalists today experience these changes as a pressure or as a possibility? Is something irrevocably lost from journalism with these changes? Newsworkers takes a broad range of European countries - North and South, East and West, big and small - comparing in each how journalism as work has been affected by the changes in journalism institutions. The book looks at three pertinent and topical questions: the role of technology in changing journalism work practice; the decline or not of professional values; and whether journalism is becoming more homogenous across national borders. Drawing on extensive and original research, the book provides a comprehensive picture of contemporary European journalism.Trade ReviewThis well-organized book reports the findings of an ambitious and thorough study of journalists in six European countries—Britain, Estonia, Germany, Italy, Poland, and Sweden. It focuses on continuity and change in the technology, skills, autonomy, and professionalism of news people in these countries, using both quantitative and qualitative methods. It offers some unexpected insights, as well as support for previous studies, and should be of real value to anyone interested in European journalism. * David H. Weaver, Distinguished Professor Emeritus of Journalism, Indiana University, USA *Newsworkers: A Comparative European Perspective is a welcomed comparative account on the realities of journalism, which is particularly relevant in a time when journalists are struggling with a changing media world. Theoretically rich and empirically illuminating, Örnebring's book takes a fresh look into journalistic cultures in a variety of European countries. It is a great resource and vantage for scholars interested in state-of-the-art comparative journalism research. * Thomas Hanitzsch, Chair and Professor of Communication, LMU Munich, Germany *Well-theorized and well-researched, Örnebring’s book provides an insightful look at the daily pressures of working journalists. We gain important comparative evidence that brings into relief commonalities and differences across Europe while also hearing the voices of journalists struggling to adapt their understandings of professionalism to a changing media environment. * Matt Carlson, Associate Professor of Communication, Saint Louis University, USA *Table of ContentsChapter 1: Journalism as Work and Institution Chapter 2: Institution, work, and professionalism – an analytical framework Chapter 3: Six countries – background and empirical data Chapter 4: Technology Chapter 5: Skill Chapter 6: Autonomy Chapter 7: Professionalism Chapter 8: Newswork in Europe: Continuity and Change Methodological Appendix Bibliography Index

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Book SynopsisAfter 45 years, Steven Spielberg's Jaws remains the definitive summer blockbuster, a cultural phenomenon with a fierce and dedicated fan base. The Jaws Book: New Perspectives on the Classic Summer Blockbuster is an exciting illustrated collection of new critical essays that offers the first detailed and comprehensive overview of the film's significant place in cinema history. Bringing together established and young scholars, the book includes contributions from leading international writers on popular cinema including Murray Pomerance, Peter Krämer, Sheldon Hall, Nigel Morris and Linda Ruth Williams, and covers such diverse topics as the film's release, reception and canonicity; its representation of masculinity and children; the use of landscape and the ocean; its status as a western; sequels and fan-edits; and its galvanizing impact on the horror film, action movie and contemporary Hollywood itself.Trade ReviewAn excellent variety of fascinating readings about a surprisingly complex film of the 1970s. The range of approaches is stimulating, accessible, and superbly thought out. Each essay increases our knowledge of Jaws from a variety of perspectives and heightens our understanding of the film. * Robert P. Kolker, Emeritus Professor of English, University of Maryland, USA *The Jaws Book is rich, insightful and comprehensive. It revisits this landmark film from an extremely wide range of perspectives, covering production, film style, genre, representation and reception. As a consequence, it is essential reading for anyone interested in the history of American popular cinema, as well as the impact and legacy of this enduring, ever-popular film * Kate Egan, Senior Lecturer in Film and Media, Northumbria University, UK *45 years after its release, Steven Spielberg's Jaws continues to endlessly fascinate and function as a cornerstone for contemporary popular culture. Hunter and Melia's collection brings together an impressive group of scholars, who deftly debate and analyse Jaws in a series of original, insightful and highly readable essays. Distinguishing fact from myth, and scrutinizing details pertaining to its production, textual organisation and reception, The Jaws Book offers genuinely new perspectives on why the film continues to resonate. No doubt, it will appeal to everyone interested in the film, its director and the industrial, cultural and political cultures that produced it. * Yannis Tzioumakis, Reader in Film and Media Industries, University of Liverpool, UK *This is a terrific collection of essays that genuinely brings new insight, and with a foreword provided by Jaws’ screenwriter and supporting actor Carl Gottlieb himself, The Jaws Book is highly recommended for any fan of Jaws, or for anyone with even a passing interest in this crucial moment in film history. * Cinema Retro Magazine *Table of ContentsList of illustrations Notes on contributors Acknowledgements Foreword Carl Gottlieb (Screenwriter of Jaws) Introduction I.Q. Hunter (De Montfort University, UK) and Matthew Melia (Kingston University, UK) Part One: Production, Reception and Style 1. ‘She Was the First’: The Place of Jaws in American Film History Peter Krämer (De Montfort University, UK) 2. Not the First: Myths of Jaws Sheldon Hall (Sheffield Hallam University, UK) 3. Cutting to the Chase: Editing Jaws Warren Buckland (Oxford Brookes University, UK) 4. ‘The Shark is Not Working’ – But the Music Is: Scoring a Hit with Jaws Emilio Audissino (University of Southampton, UK) 5. In the Teeth of Criticism: Forty-Five Years of Jaws Nigel Morris (University of Lincoln, UK) 6. Jaws, in Theory Murray Pomerance (Independent scholar, Canada) Part Two: Interpretation 7. Jaws as Jewish Nathan Abrams (Bangor University, UK) 8. Children as Bait Linda Ruth Williams (Exeter University, UK) 9. Reflexive Epistemology in Jaws and Jurassic Park Robert Geal (University of Wolverhampton, UK) 10. ‘We Delivered the Bomb’: On Jaws, Guilt, and the Atomic Myth Matthew Leggatt (University of Winchester, UK) 11. The Way Home: Shifting Perspectives in Jaws Daniel Varndell (University of Winchester, UK) 12. Relocating the Western in Jaws Matthew Melia (Kingston University, UK) Part Three: Beyond Jaws 13. ‘Just When You Thought It Was Safe...’: The Jaws Sequels Kathleen Loock (Freie Universität Berlin, Germany) 14. Martha’s Vineyard Revisited: The Making-Ofs and Their Narrative Strategies Felix Lempp (University of Hamburg, Germany) 15. Ben Gardner’s Head is Missing: Notes on Jaws: The Sharksploitation Edit Neil Jackson (University of Lincoln, UK) 16. Live Every Week Like It’s Shark Week: Jaws and Natural History Documentary Vincent Campbell (University of Leicester, UK) Index

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Book SynopsisHollywood Online provides a historical account of motion picture websites from 1993 to 2008 and their marketing function as industrial advertisements for video and other media in the digital age.The Blair Witch Project is the most important example of online film promotion in cinema history. Over the last thirty years only a small number of major and independent distributors have converted internet-created buzz into box-office revenues with similar levels of success. Yet readings of how the film's internet campaign broke new ground in the summer of 1999 tend to minimize, overlook or ignore the significance of other online film promotions. Similarly, claims that Blair initiated a cycle of imitators have been repeated in film publications and academic studies for more than two decades.This book challenges three major narratives in studies about online film marketing: Hollywood's major studios and independents had no significant relationship to the internet in the 1990s; online film promotions only took off after 1999 because of Blair; and Hollywood cashed-in by initiating a cycle of imitators and scaling up corporate activities online. Hollywood Online tests these assumptions by exploring internet marketing up to and including the film's success online (Pre-Blair, 1993-9), then by examining the period immediately after Blair (Post-Blair, 2000-8) which broadly coincides with the rise and decline of DVD, as well as the emergence of the social media sites MySpace, Facebook and Twitter.

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Book SynopsisAmerican Disaster Movies of the 1970s is the first scholarly book dedicated to the disaster cycle that dominated American cinema and television in the 1970s. Through examining films such as Airport (1970), The Poseidon Adventure (1972), Two-Minute Warning (1976) and The Swarm (1978), alongside their historical contexts and American contemporaneous trends, the disaster cycle is treated as a time-bound phenomenon. This book further contextualises the cycle by drawing on the longer cultural history of modernist reactions to modern anxieties, including the widespread dependence on technology and corporate power. Each chapter considers cinematic precursors, such as the ark movie', and contemporaneous trends, such as New Hollywood, vigilante and blaxploitation films, as well as the immediate American context: the end of the civil rights and countercultural era, the Watergate crisis, and the defeat in Vietnam.As Scott Freer argues, the disaster movie is a modern, demotic form of tragedy tha

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Book SynopsisAlexis Luko is Professor of Musicology and the Director of the School of Music at the University of Victoria, Canada. She is the author of Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman (2016).James K. Wright is Professor of Music in the School for Studies in Art and Culture and the College of Humanities at Carleton University, Canada. A McGill University Governor General's Gold Medal recipient, his publications include two award-winning books on Arnold Schoenberg, and They Shot, He Scored (2019), a monograph on the life and work of the prolific film composer Eldon Rathburn.Trade ReviewWe hate monsters, but we need them, and that’s what makes them so endlessly fascinating. For those who take monstrosity seriously, this collection of essays—with topics ranging from Frankenstein’s celebrated creature to werewolves and wraiths—offers plenty of food for thought. * James Wierzbicki, author of Film Music: A History *Table of ContentsIntroduction Part I: Frankenstein in Film, Theatre, Music, Comics and Visual Art 1. Frankenstein’s Frontispiece, the Missing Phallus and the Pornographer: The Alchemy of Conceiving Monstrosities Marie Mulvey-Roberts, University of the West of England, UK 2. Monstrous Encounters: The Aesthetic Psychology of Screen Frankensteins Kevin J. Donnelly, University of Southampton, UK 3. Frankenstein and the Media of Serial Figures Shane Denson, Stanford University, USA 4. Musical Directions, Sound and Song in Presumption, or the Fate of Frankenstein (1823) John Higney, Carleton University, Canada 5. Birth of a ‘Miserable Monster’: The Theatricality of Male Self-Procreation in Stage and Screen Adaptations of Frankenstein André Loiselle, St. Thomas University, Canada 6. Excising the Repulsive: Mysticism and Psychology in Edison’s Frankenstein (1910) Ethan Towns, Trent University, Canada 7. Frankenstein’s Organ Transplant: Adaptation in Afro-Futurist and Electronic Dance Musics Mark McCutcheon, Athabaska University, Canada Part II: Monstrosity in Music, Film and Video Games 8. Monstrosity as a Queer Aesthetic Lloyd Whitesell, McGill University, Canada 9. Twelve-tone Terror: Representing Horror and Monstrosity in Dodecaphonic Film Music James K. Wright, Carleton University, Canada 10. The Horror, the Horror! White Women are the True Monsters in Jordan Peele’s Get Out Frederick W. Gooding, Jr., Texas Christian University, USA 11. Indigeneity as Monstrosity in The Four Skulls of Jonathan Drake Murray Leeder, University of Manitoba, Canada 12. A 'Distaste for. . . Allegory' or: In the Bowels of Horror Daniel Humphrey, Texas A&M University, USA 13.Tragic Wraiths, Seductive Sirens and Man-Eating Vampires: Female Monstrosity in The Witcher 3: Wild Hunt Video Game Sarah Stang, Brock University, Canada Acknowledgements Bibliography Filmography Index

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Book SynopsisJeremi Szaniawski is Assistant Professor of comparative literature and film studies in the Department of Languages, Literatures, and Cultures at the University of Massachusetts Amherst, USA. He is the editor of Directory of World Cinema: Belgium and the author of The Cinema of Alexander Sokurov: Figures of Paradox (both 2014), as well as the translator, into French, of Thomas Elsaesser's and Malte Hagener's Film Theory: An Introduction Through the Senses (2011) and Alexander Sokurov's V tsentre okeana (2015).Trade Review[T]reads new ground in Kubrick-ademia. * The Film Stage *Here is a collection of lambently written and fascinating explorations of an important filmmaker's scintillating career. Admirers and students will rightfully cherish After Kubrick for its unprecedented depth, its smart variety of approaches, and the intense light it shines on films that have become classics. * Murray Pomerance, author of Virtuoso: Film Performance and the Actor's Magic (2019) *These fascinating, often ingenious, and always insightful essays explore the complex legacy of one of the great artists of the 20th century. * Robert P. Kolker, Emeritus Professor, University of Maryland, USA *Never sentimental, fawning, or uncritical, this collection tackles the complex subject of the legacy of Kubrick’s films with the most promiscuous possible sense of aesthetic influence. Kubrick, or, rather, 'Kubrick,' thereby becomes a machine, a form, a process, a method, a medium, an excuse, a vibrant philosophical conceit, enabling the revisiting of some of the most pressing contemporary debates in the study of representation—the aesthetic status of affect; the post- and trans-human relation to technology and artificial intelligence; environmental catastrophe and the machinery of war; in addition to film-philosophical concerns with cinematic time; the grotesque and violent; and the status of aesthetic form itself. Grounding its far-reaching considerations in exemplary close readings, and with a particularly rich editorial introduction, After Kubrick thereby brings out the etymological debt of the word 'influence' itself: from the Latin influere, to flow into, an undetermined streaming of energy, fluid, or even unobservable forces, demonstrating that aesthetic influence is the unpredictable and impersonal capacity to produce new and surprising effects. * Eugenie Brinkema, Associate Professor, Massachusetts Institute of Technology, author of The Forms of the Affects *After Kubrick represents an infusion of rich blood into Kubrick studies and contemporary cinema studies. Contributing authors are among the finest in those fields, but this volume is not a collection of “the usual Kubrick suspects”: it extends much further than that in its inclusiveness and in its ambitious scope to cut new pathways back into Kubrick’s work and forward into emergent work. * Senses of Cinema *Table of ContentsIntroduction: 1999–2019, and Beyond: A Post-Kubrickian Odyssey (Jeremi Szaniawski, UMass Amherst, USA) 1. Stanley Kubrick’s Prototypes: the Author as World-Maker (Thomas Elsaesser, University of Amsterdam, the Netherlands) 2. “Kubrick’s Cube”: Stanley Kubrick, Judaism and his Jewish Heirs (Nathan Abrams, Bangor University, UK) 3. Kubrick’s Inheritors: Aesthetics, Independence, and Philosophy in the Films of Joel and Ethan Coen (Rodney F Hill, Hofstra University, USA) 4. Blurring the Lines between Victim and Perpetrator: Yorgos Lanthimos and Stanley Kubrick’s legacy (Pierre Simon Gutman, ESRA, France) 5. Glimpses of Eternity: Stanley Kubrick’s Time Machines (Jeremi Szaniawski, UMass Amherst, USA) 6. Kubrickian Dread: Echoes of 2001 and The Shining in Works by Jonathan Glazer, Paul Thomas Anderson, and David Lynch (Rick Warner, UNC Chapel Hill, USA) 7. Excessive and Incomplete: Kubrick’s Turing (Marta Figlerowicz, Yale University, USA) 8. Thus Spoke Kubrick: “Guide Pieces,” Modes of Citation and the Rise of the Temp Track (Adrian Daub, Stanford University, USA) 9. Fade to Crude: Petro-Horror and Kubrick’s The Shining (Pansy Duncan, Massey University, New Zealand) 10. The Anxiety of Interpretation: The Shining, Room 237I, and Film Criticism (Daniel Fairfax, Frankfurt am Main University, Germany) 11. Political Opacity in the Films of Stanley Kubrick (John Pitseys, Université Catholique de Louvain-la-Neuve, France) 12. Coping with the Unknown in 2001: A Space Odyssey and Interstellar (Mircea Deaca, University of Bucarest, Romania) 13. Biopolitical Abjection and Sexuation: Stanley Kubrick’s Political Films (Seung-hoon Jeong, NYU Abu Dhabi, United Arab Emirates) 14. Kubrick at the Museum: Post-cinematic Conditions, Limitations, and Possibilities (Jihoon Kim, Chung-Ang University, South Korea) 15. The Dead Kitten: Sacrifice in Barry Lyndon (Alexander Nemerov, Stanford University, USA) Appendix: Interview with Gaspar Noé (Pip Chodorov, Dong-Guk University, South Korea) Index

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Book SynopsisIn this book, Robert K. Beshara applies decolonial film theory to an analysis of Youssef Chahine's (1997) Al-Masir (Destiny).Transmodern Cinema and Decolonial Film Theory is the first book on decolonial film theory, which unpacks key concepts in decoloniality and decolonial aesthetics. Decolonial film theory is then applied to Youssef Chahine's (1997) historical drama al-Ma?ir in an effort to juxtapose the Egyptian filmmaker (Chahine) and his decolonial cinema to the Andalusian polymath (Ibn Rushd) and his Islamic philosophy.

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Book SynopsisIdentifies key ? and in some cases previously overlooked ? cult horror films from around the world and reappraises them by approaching and interrogating them in new ways.New productions in the horror genre occupy a prominent space within the cinematic landscape of the 21st century, but the genre''s back catalogue of older films refuses to be consigned to the motion picture graveyard just yet. Interest in older horror films remains high, and an ever-increasing number of these films have enjoyed an afterlife as cult movies thanks to regular film festival screenings, television broadcasts and home video releases. Similarly, academic interest in the horror genre has remained high. The frameworks applied by contributors to the collection include genre studies, narrative theory, socio-political readings, aspects of cultural studies, gendered readings, archival research, fan culture work, interviews with filmmakers, aspects of film historiography, spatial theory and cult film theory. Covering a corpus of films that ranges from recognised cult horror classics such as The Wicker Man, The Shining and Candyman to more obscure films like Daughters of Darkness, The Legend of the 7 Golden Vampires, Shivers, Howling III: The Marsupials and Inside, Broughton has curated an international selection of case studies that show the diverse nature of the cult horror subgenre. Be they star-laden, stylish, violent, bizarre or simply little heard-of obscurities, this book offers a multitude of new critical insights into a truly eclectic selection of cult horror films.

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Book SynopsisExamining work by novelists, filmmakers, TV producers and songwriters, this book uncovers the manner in which the radio and the act of listening has been written about for the past 100 years.Ever since the first public wireless broadcasts, people have been writing about the radio: often negatively, sometimes full of praise, but always with an eye and an ear to explain and offer an opinion about what they think they have heard. Novelists including Graham Greene, Agatha Christie, Evelyn Waugh, and James Joyce wrote about characters listening to this new medium with mixtures of delight, frustration, and despair. Clint Eastwood frightened moviegoers half to death in Play Misty for Me, but Lou Reed''s Rock & Roll' said listening to a New York station had saved Jenny''s life. Frasier showed the urbane side of broadcasting, whilst Good Morning, Vietnam exploded from the cinema screen with a raw energy all of its own. Queen thought that all the audience heard Trade ReviewA fascinating and highly readable account of the representation of radio in other media. Martin Cooper’s history of a hundred years of radio in song, films, novels and television programmes is both a highly entertaining and fascinating read and also an important new source for radio historians. The perfect book to celebrate the one hundred years of radio broadcasting in Britain. * Hugh Chignell, Emeritus Professor of Media History, Bournemouth University, UK *Table of ContentsPreface 1. Introduction 2. Broadcasting on Air, 1922-1935 3. Developing Ways of Listening, 1935-1938 4. The Home Front, 1938-1949 5. New Elizabethans, and New Questions, 1950-1963 6. The Rise of Format Radio, 1964-1979 7. Video Killed the Radio Star, 1979-1983 8. The Radio DJ and the Cult of Personality, 1984-1993 9. Critique, Questions, and Satire, 1993-2004 10. Listening Back and Looking Forward, 2005-2022 11. Conclusion Sources Index

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Book Synopsis Haunted Histories and Troubled Pasts speaks to how a transnational array of recent screen entertainments participate, through horror, in public discourses of history, the social and creative work of reshaping popular understanding of our world through the lens of the past.Contemporary film and television ? and popular screen cultures more generally ? are distinguished by their many and varied engagements with history, including participation in worldwide movements to reconcile past losses and injuries with present legacies. The chapters in this collection address themselves to 21st-century screen horror''s participation in this widespread fascination with and concern for the historical - its recurrent reimagining of the relation between the past and present, which is part of its inheritance from the Gothic. They are concerned with the historical work of horror''s spectral occupations, its visceral threats of violence and its capacity for exploring repressed social identities, as well as the ruptures and impositions of colonization and nationhood.Trauma is a key theme in this book, examined through themes of war and genocide, ghostly invasions, institutionalized abuse, apocalyptic threat and environmental destruction. These persistent, fearful reimaginings of the past can take many lurid ? sometimes tritely generic ? forms. Together, these chapters explore and reflect upon horror''s ability to speak through them to the unspoken of history, to push the boundaries and probe the fault-lines and ideological impositions of received historical narratives ? while reminding us that history and the historical imagination persist as sites of contention.

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Book SynopsisSome 80 years after the end of World War two and Nazi Germany's attempt to annihilate European Jews and the Jewish culture, the story of the Holocaust continues to be told in novels, paintings, music, sculpture and film. Over the past eight decades, close to a thousand documentaries, narrative shorts and features, television miniseries and filmed statements from survivors, have confronted the horrors of the past, creating a recognizable iconography of persecution, suffering, and genocide. While arguably, movies and television have a tendency to overly simply, if not trivialize, historical events, popular culture artists also keep the past from being forgotten. Historical Dictionary of Holocaust Cinema, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 175 cross-referenced entries on films, directors, and historical figures. Foreign-language, experimental, and canonical films are included. This book is an excellent resource for students, researchers, and anyone wanting to know more about holocaust cinema.

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Book SynopsisWhile there are many books that attempt to teach people how to act, there are few books that show aspiring actors what it takes to succeed as a working professional. The Professional Actor’s Handbook: From Casting Call to Curtain Call provides struggling artists – stage and screen actors, dancers, singers – with strategies that will help them successfully negotiate every stage of their careers. From recent college graduates to seasoned professionals looking to transition their careers to the next level, this book is a much needed guide. Among the many topics covered in this book, the authors demonstrate how to: Create a Captivating Resume Take That “Perfect” Headshot Compile a Complete Rep Book Conquer Audition Nerves Execute a Marketing Plan Plus a Bonus Chapter: Generate an Extraordinary Video Submission Other strategies address how to network, how to finance your early career, and even how to organize a home studio. Featuring sample resumes, insights from industry experts, and a new chapter by audition coach Casey Miko on how to “Generate an Extraordinary Video Submission: Self-Tapes – The Basics and Beyond,” this book offers invaluable industry guidance. Along with audition manuals and repertoire binders, The Professional Actor’s Handbook is a vital reference that belongs on every working professional’s bookshelf. Trade Review“This is the best actor preparation text I have ever come across. The authors make this business manageable, do-able, clear, concise, and take the mystery out of how to launch and how to succeed. My students appreciated each chapter.” -- Jill Womack, assistant professor, Stephens College, executive artistic director, TRYPS Institute“Julio Agustin is professional and dedicated to his beliefs. I love his desire and need to assist gifted artists to not let fear and rejection stop them from fulfilling their dreams and capabilities. His book does just that.” -- Chita Rivera, Tony–Award winning actress"Read this book. Julio shares his insightful knowledge that he's acquired personally and professionally, so that everyone can have a better shot at being at their best in any situation." -- Chris Gattelli, Tony–Award winning choreographer, Newsies"This is the business handbook for every young actor. It is a must read to transition from artistic academia to the real world of acting." -- Elsie Stark, New York casting director, Stark Naked ProductionsTable of ContentsForeword by Elizabeth ParkinsonAcknowledgmentsIntroductionPart I: Branding Strategies for the Professional ActorSuccess Strategy 1: Define Your Unique Selling PointsSuccess Strategy 2: Build Your Brand by Following the StarsPart II: Success Strategies for the Stage & ScreenSuccess Strategy 3: Create a Captivating ResumeSuccess Strategy 4: Take That “Perfect” HeadshotSuccess Strategy 5: Write a Standout Cover LetterSuccess Strategy 6: Compile a Complete Rep BookSuccess Strategy 7: Practice PreparationSuccess Strategy 8: Conquer Audition NervesPart III: Marketing & Networking Strategies for the Successful PerformerSuccess Strategy 9: Execute a Marketing PlanSuccess Strategy 10: Establish Your TeamSuccess Strategy 11: Cultivate a MentorSuccess Strategy 12: Get “Them” to Trust YouSuccess Strategy 13: Network!Success Strategy 14: Follow Up for Superior ResultsPart IV: Offstage and Professionalization StrategiesSuccess Strategy 15: Organize Your Home StudioSuccess Strategy 16: Finance Your Developing CareerSuccess Strategy 17: Negotiate a Profitable ContractBonus ChapterEpilogueResourcesIndexAbout the Authors

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Book Synopsis This book is the first major study of Canadian women filmmakers since the groundbreaking Gendering the Nation (1999). The Gendered Screen updates the subject with discussions of important filmmakers such as Deepa Mehta, Anne Wheeler, Mina Shum, Lynne Stopkewich, Léa Pool, and Patricia Rozema, whose careers have produced major bodies of work. It also introduces critical studies of newer filmmakers such as Andrea Dorfman and Sylvia Hamilton and new media video artists. Feminist scholars are re-examining the ways in which authorship, nationality, and gender interconnect. Contributors to this volume emphasize a diverse feminist study of film that is open, inclusive, and self-critical. Issues of hybridity and transnationality as well as race and sexual orientation challenge older forms of discourse on national cinema. Essays address the transnational filmmaker, the queer filmmaker, the feminist filmmaker, the documentarist, and the video artist - just some of the diverse identities of Canadian women filmmakers working in both commercial and art cinema today. Trade Review``The Gendered Screen: Canadian Women Filmmakers is an important contribution to Canadian film studies, ensuring the centrality and significance of Canadian women's contribution to filmmaking. This new collection of essays tackles the intersections of film authorship, gender and nation, and while these terms may be undergoing challanges as organized principles for the study of film, as the editors note in the introduction, they 'had not lost their troublesome fascination for us as teachers and scholars of film.' The editors refrain, however, from employing any rigid definitions, encouraging the debates and tensions that arise from the various usages of these potentially vexing terms to shape the anthology. A wide range of filmmakers, regions, and filmmaking practices is covered, and this expansiveness is easily the book's greatest strength.... An ambitious volume that covers a lot of ground. Many of the essays function as excellent introductions to a filmmaker's work and are easily adaptable to course curricula while also yielding some new insights and approaches to Canadian women's cinema.'' -- Liz Czach -- Canadian Literature, 209, Summer 2011, 201201``The uniform excellence of insight and writing, the variety of critical approaches, and the range from unfamiliar to established artists (and critics) make this a substantial, groundbreaking study.'' -- M. Yacowar, emeritus, University of Calgary -- Choice, December 2010, 201012``The Gendered Screen is a much-needed update that surveys the recent developments and contemporary field of Canadian women's cinema.... An especially significant dimension of this collection is the attention to filmmakers whose work has been largely neglected by critics and scholars.... The essays together ... address a wide cross-section of women's media production in this country. They examine the specificities of different regional contexts and address a variety of media approaches, from experimental film and video to independent features, television, and documentary production. More significant, the book investigates feminist and Canadian cinema beyond counter-cinema forms and art house aesthetics, respectively. The studies here attend to women producers not only working within the mainstream entertainment cinema but also presenting women-centered narratives and using humour as a means of critique. They demonstrate how the commercial sector, traditional women's genres, and comedy can function as sites of resistance that express feminist attitudes and politicized positions. In this way, The Gendered Screen expands the definitions of both feminist and Canadian cinema, contributing significantly to scholarship in both fields.'' -- Sylvie Jasen -- H-Net Reviews, January 2013, 201312``The Gendered Screen expands the discursive space for scholarly engagement with women filmmakers in a predominantly masculinist terrain. The contributors provide fresh approaches to filmmakers of the canon and give solid first starts on filmmakers who had previously been left out of the picture of Canadian cinema studies.'' -- Susan Lord, Film and Media, Queen's University, co-editor with JanineMarchessault of Fluid Screens, Expanded Cinemas (2007), and withAnnette Burfoot, Killing Women: The Visual Culture of Gender andViolence (WLU Press, 2006) -- 201005Table of Contents The Gendered Scream: Canadian Women Filmmakers, edited by Brenda Austin-Smith and George Melnyk Acknowledgements 1. Introduction Canadian Women Filmmakers: Re-imagining Authorship, Nationality, and Gender Brenda Austin-Smith and George Melnyk 2. Feminist/Feminine Binaries and the Body Politic The Art of Craft: The Films of Andrea Dorfman Andrew Burke Feminist Ambiguity in the Film Adaptations of Lynne Stopkewich Lee Parpart On the Edge of Genre: Anne Wheeler's Interrogating Maternal Gaze Kathleen Cummins Fluidity: Joyce Wieland's Political Cinema Kay Armatage 3. Queer Nation and Popular Culture The Art of Making Do: Queer Canadian Girls Make Movies Jean Bruce Feminist Filmmaking and the Cinema of Patricia Rozema Agata Smoluch Del Sorbo Léa Pool: The Art of Elusiveness Florian Grandena 4. Transiting Nationality and the Battlefields of Otherness On the Field of Battle: First Nations Women Documentary Filmmakers Anthony Adah Eradicating Erasure: The Documentary Film Practice of Sylvia Hamilton Shana McGuire and Darrell Varga Women, Liminality, and ""Unhomeliness"" in the Films of Mina Shum Brenda Austin-Smith Beyond Tradition and Modernity: The Transnational Universe of Deepa Mehta Christina Stojanova Les Québécoises Jerry White Index Contributors Anthony Adah is an assistant professor in film studies at Minnesota State University, Moorhead, Minnesota. He specializes in post-colonial cinemas, especially those from settler states (Australia, Canada, and New Zealand) and Africa. He is published in Postscript and Film Criticism and has a forthcoming article in Pompeii. His current research projects include theoretical exploration of authorship and genre in Nollywood as well as land and memory in Aboriginal cinemas. Kay Armatage is a professor cross-appointed to the Cinema Studies Institute and Women and Gender Studies Institute, University of Toronto. She is the author of The Girl from God's Country: Nell Shipman and the Silent Cinema (University of Toronto Press, 2003) and co-editor of Gendering the Nation: Canadian Women's Cinema (University of Toronto Press, 1999). She has also directed documentary films, including Artist on Fire: The Work of Joyce Wieland (1987). Her current research is on film festivals. Brenda Austin-Smith is an associate professor in the Department of English, Film, and Theatre at the University of Manitoba, where she teaches a variety of courses, including Cult Film, Film and the City, and Film and Affect. She has published on emotional responses to film melodrama, symbolism in American literature, adaptation, the late novels of Henry James, Patricia Rozema, Manitoba feature films, cinema memory and World War II, and Lars von Trier. Jean Bruce teaches film theory and cultural studies at Ryerson University in the School of Image Arts, where she is currently the associate chair. She also teaches visual culture in the joint graduate Program in Communication and Culture at Ryerson and York universities. Her research interests include melodrama, consumer culture, sexuality and the cinema, and the home-improvement genre of reality television. Andrew Burke is an assistant professor in the Department of English at the University of Winnipeg, where he teaches critical theory, cultural studies, and British literature and culture. His current project is on representations of modernity and modernization in contemporary British cinema, part of which is forthcoming in the journal Screen. His recent articles on contemporary cinema and cultural theory have appeared in Historical Materialism and English Studies in Canada. Kathleen Cummins is a Ph.D. candidate in the graduate program in women's studies at York University. Her doctoral research focuses on the reconstruction of frontier histories in women's feminist cinemas. Kathleen has taught film production, screenwriting, and media studies in a variety of institutions, such as the Department of Film at York University, the Media Arts Department at Sheridan College, and the Department of Communication, Culture and Information Technology at the University of Toronto Mississauga/Sheridan College. Her short films have been screened and broadcast internationally. Florian Grandena is assistant professor in the Department of Communication of the University of Ottawa, where he teaches film studies. He researches gay-themed French-speaking films, particularly the films of Olivier Ducastel and Jacques Martineau, on which he is currently writing a book. He is the author of Showing the World to the World: Political Fictions in French Cinema of the 1980s and the early 2000s (Cambridge Scholars Publishing, 2008) and co-editor of New Queer Images and Cinematic Queerness (Peter Lang Publishing Group, 2010), which focus on the representations of homosexualities in contemporary visual cultures in France and in Quebec. Shana McGuire is completing a Ph.D. in French at Dalhousie University in Halifax, Nova Scotia. Her doctoral research, funded by both the Killam Foundation and the Social Sciences and Humanities Research Council, examines representations of the body in contemporary French cinema, namely the films of Catherine Breillat, Claire Denis, and Bruno Dumont. She has taught film studies at Mount Saint Vincent University and at the Nova Scotia College of Art and Design in Halifax. George Melnyk is associate professor of Canadian Studies and Film Studies in the Department of Communication and Culture, University of Calgary. He is a cultural historian who has authored and edited over twenty books on cultural and political issues relating to Canada. In the field of Canadian cinema he has authored One Hundred Years of Canadian Cinema (2004) and edited The Young, the Restless, and the Dead: Interviews with Canadian Filmmakers (WLU Press, 2008) and Great Canadian Film Directors (2007). He is currently completing a manuscript on urbanity in postmodern Canadian cinema. Lee Parpart is a Toronto-based writer and lecturer whose work on Canadian cinema and visual culture has appeared in Canadian Art, POV, The Globe and Mail, The Whig-Standard, The Canadian Journal of Film Studies, and Essays on Canadian Writing. Her essays on gender and cinema and television (including critical writings about Canadian filmmakers Lynne Stopkewich, Patricia Rozema, and the American TV series Buffy the Vampire Slayer) have appeared in numerous anthologies, including North of Everything: English-Canadian Cinema since 1980, Gendering the Nation: Canadian Women's Cinema, and Athena's Daughter's: Television's New Women Warriors. After a care-giving hiatus of several years, she is completing a dissertation that explores feminist film and new-media adaptations of Canadian women's fiction. Agata Smoluch Del Sorbo is a Toronto-based film programmer and writer who has programmed Canadian feature films for the Toronto International Film Festival since 2005. She holds an M.A. in film studies from York University and has written articles on Patricia Rozema, Canadian cinema, and women's filmaking. She has served on a number of film juries, including the Imagine NATIVE Film Festival and the National Screen Institute and was a lecturer in American cinema at the University of Genoa, Italy. Currently she is completing a research project on national cinemas and cultural identity. Christina Stojanova is an academic, curator, and writer who focuses on cultural semiotics, gender, genre, and ethnic representation in Canadian multicultural cinema, the cinema of Québec, and Russian and Eastern European cinema. As a member of the Association of Quebec Film Critics, she writes for a number of critical journals and sits on international film festival juries. She also sits on the editorial boards of Rhodopi Publishing House and of Studies in Eastern Europe Cinema. She is an assistant professor in the Department of Media Production and Studies at University of Regina. Among her major publications are chapters in Making It Like a Man: Canadian Masculinities (2009), European Nightmares (Wallflower, 2009), Berlin Culturescapes (University of Regina Press, 2008), The Cinema of Eastern Europe (Routledge, 2005), Traditions in World Cinema (Edinburgh University Press, 2005), Horror International (Wayne University Press, 2005), Cinema of Central Europe (Wallflower, 2005); Alternative Europe: Eurotrash and Expoitation Cinema since 1945 (Wallflower, 2004). She is currently co-editing an anthology on Wittgenstein on Film and a monograph on New Romanian Cinema. Darrell Varga is associate professor and Canada Research Chair in Contemporary Film and Media Studies at the Nova Scotia College of Art and Design in Halifax. He is the co-editor of Working on Screen: Representations of the Working Class in Canadian Cinema (2006) and editor of Rain/Drizzle/Fog: Film and Television in Atlantic Canada (2007). Jerry White is associate professor of Film Studies at the University of Alberta. He is author of The Radio Eye: Cinema in the North Atlantic, 1958–1988 (Wilfrid Laurier University Press, 2009) and Of This Place and Elsewhere: The Films and Photography of Peter Mettler (Toronto Film Festival/Indiana University Press, 2006). He is the editor of The Cinema of Canada (Wallflower Press, 2006), co-editor (with William Beard) of North of Everything: English-Canadian Cinema since 1980 (U of Alberta Press, 2002), and the former editor of the Canadian Journal of Irish Studies.

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Book Synopsis During the last decade, contemporary German and Austrian cinema has grappled with new social and economic realities. The ""cinema of consensus,"" a term coined to describe the popular and commercially oriented filmmaking of the 1990s, has given way to a more heterogeneous and critical cinema culture. Making the greatest artistic impact since the 1970s, contemporary cinema is responding to questions of globalization and the effects of societal and economic change on the individual. This book explores this trend by investigating different thematic and aesthetic strategies and alternative methods of film production and distribution. Functioning both as a product and as an agent of globalizing processes, this new cinema mediates and influences important political and social debates. The contributors illuminate these processes through their analyses of cinema's intervention in discourses on such concepts as ""national cinema,"" the effects of globalization on social mobility, and the emergence of a ""global culture."" The essays illustrate the variety and inventiveness of contemporary Austrian and German filmmaking and highlight the complicated interdependencies between global developments and local specificities. They confirm a broader trend toward a more complex, critical, and formally diverse cinematic scene. This book offers insights into the strategies employed by German and Austrian filmmakers to position themselves between the commercial pressures of the film industry and the desire to mediate or even attempt to affect social change. It will be of interest to scholars in film studies, cultural studies, and European studies. Trade Review"German-language cinema has always been more diverse than film historians admit. The contributions in this volume challenge us to recognize this heterogeneity in recent, post-millennial films from Germany and Austria. Close readings elaborate how filmmakers respond to the tensions that arise as the national and European social landscape changes, with implications for film aesthetics, funding, production, distribution, and reception. At the same time these crisply written chapters redefine the emerging cinema landscape within transnational market dynamics and capital flow. I recommend this volume to readers seeking to understand the multiplicity and hybridity of the post-1990s 'consensus' cinema." -- Marc Silberman, University of Wisconsin, editor of 'The German Wall: Fallout in Europe' (2011)"Cinema by all means has to be dangerous!" (279) When Barbara Pichler quotes the title of Marcus Seibert's book of interviews with young Austrian filmmakers (2006), she also sums up the fifteen articles of this carefully edited volume, which presents a whole host of refreshing new perspectives on the most recent German-language film productions.... With its helpful abstracts, detailed notes, extensive reference lists, four-page filmography, and twelve-page index the book is an invaluable resource to anyone interested in German cinema in general and twenty-first century German cinema in particular. The articles present a forward-looking engagement with social issues that should serve as valuable reading in courses about contemporary Germany, Austria, and Europe, but also courses that want to explore European perspectives on globalization, or courses about the role of art in pursuit of social justice. They would provide a useful contrast, of course, in comparative courses with North American and other film productions. Indirectly the volume presents a strong case in favour of making all the films discussed available in region 1 format with English subtitles so that this exciting new German cinema can find the audience it deserves. -- Sabine von Mering, Brandeis University -- German Politics and Society"Der vorliegende Sammelband ist eine englischsprachige Publikation, die eine vielfèltie und möglichst differenzierte Sicht auf das zeitgenössische deutsche und österreichische Kino anbietet." -- Danila Lipatov (Moskau), Brandeis University -- Medien wissenschaftTable of Contents Cinema and Social Change in Germany and Austria, edited by Gabrielle Mueller and James M. Skidmore List of Illustrations Acknowledgements 1. Cinema of Dissent? Confronting Social, Economic, and Political Change in German-Language Cinema Gabriele Mueller and James M. Skidmore Challenging Viewing Habits 2. The Counter-Cinema of the Berlin School Marco Abel 3. The Triumph of Hyperreality: A Baudrillardian Reading of Michael Haneke's Cinematic Oeuvre Sophie Boyer 4. Subversions of the Medical Gaze: Disability and Media Parody in Christoph Schlingensief's Freakstars 3000 Morgan Koerner Reassessing and Consuming History 5. Literary Discourse and Cinematic Narrative: Scripting Affect in Das Leben der Anderen Roger Cook 6. Heimat 3: Edgar Reitz's Time Machine Alasdair King 7. Troubled Parents, Angry Children: The Difficult Legacy of 1968 in Contemporary German-Language Film Joanne Leal 8. Creative Chaos as Political Strategy in Recent German-Language Cinema Mary-Elizabeth O'Brien 9. ""Looking for an Old Man with a Black Moustache"": Hitler, Humor, Fake and Forgery in Schtonk! Florentine Strzelczyk 10. Haha, Hitler! Coming to Terms with Dani Levy Peter Gölz Questioning Collective Identities 11. German Fascination for Jews in Oliver Hirschbiegel's Ein ganz gewöhnlicher Jude Myriam Léger 12. Border, Bridge, or Barrier? Images of German-Polish Borderlands in German Cinema of the 2000s Jakub Kazecki 13. The Transnational Deutschkei in Yilmaz Arslan's Brudermord Michael Zimmermann 14. Diasporic Queers: Reading for the Intersections of Alterities in Recent German Cinema Alice Kuzniar An Insider's View 15. The Construction of Reality: Aspects of Austrian Cinema between Fiction and Documentary Barbara Pichler Filmography Notes on Contributors Index Contributors' Bios Marco Abel is associate professor of English and Film Studies at the University of Nebraska-Lincoln. He is the author of Violent Affect: Literature, Cinema, and Critique after Representation (University of Nebraska Press, 2008) and is currently working on The Berlin School: Toward a Minor Cinema, which is under contract at Camden House. He teaches film history and theory at the University of Nebraska-Lincoln. Sophie Boyer is associate professor of German Studies at Bishop's University in Sherbrooke, Quebec. Her research focuses on nineteenth-century poetry and the representation of crime and sexuality in Weimar literature. She is the author of La femme chez Heinrich Heine et Charles Baudelaire: le langage moderne de l'amour (L'Harmattan, 2004). Roger Cook is professor of German and director of Film Studies at the Missouri State University in Springfield. He is the author of By the Rivers of Babylon: Heinrich Heine's Late Songs and Reflections (Wayne State University Press, 1998) and The Demise of the Author: Autonomy and the German Writer 1770-1848 (Peter Lang, 1993), and he is editor with Gerd Gemünden of The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition (Wayne State University Press, 1996). Peter Gölz is associate professor of German and chair of the Department of Germanic and Slavic Studies at the University of Victoria. He has published on film, contemporary literature, computer-assisted language learning, and vampires. Jakub Kazecki holds an M.A. from Dalhousie University, Halifax, and a Ph.D. from The University of British Columbia, Vancouver. He is currently working as an assistant professor of German at Central Connecticut State University in New Britain, Connecticut. Alasdair King is senior lecturer in German and Film Studies at Queen Mary, University of London. His recent publications include a monograph on Hans Magnus Enzensberger, and numerous articles on German cinema. He is currently working on a monograph on Edgar Reitz's Heimat trilogy as part of a wider research interest in contemporary cinematic engagements with space and time. Morgan Koerner is an assistant professor of German at the College of Charleston in South Carolina. His research focuses on intermediality and laughter in contemporary German theatre performances after unification. Alice Kuzniar is professor of German at the University of Waterloo, Ontario. She has edited Outing Goethe and His Age (Stanford University Press, 1996) and authored Delayed Endings: Nonclosure in Novalis and Hölderlin (University of Georgia Press, 1987), The Queer German Cinema (Stanford University Press, 2000), and Melancholia's Dog: Reflections on Our Animal Kinship (University of Chicago Press, 2006). Joanne Leal is director of the M.A. in European Cultures program at Birkbeck, University of London. She has published on feminist literature and contemporary fiction and film, and she has recently completed a project on the collaborative works of Wim Wenders and Peter Handke (with Martin Brady, King's College London), funded by the Arts and Humanities Research Council (United Kingdom). Myriam Léger is a Ph.D. candidate at the University of Waterloo, Ontario. Her research interests are in twentieth-century German literature and film, representations of Jewish identity, intersections of politics and literature, and cultural studies. Gabriele Mueller Gabriele Mueller is associate professor of German and affiliated with The Canadian Centre for German and European Studies at York University in Toronto. Her research focuses mainly on contemporary German cinema. She has published on various aspects of post-unification cinema in Germany, in particular, on cinematic contributions to memory discourses. Mary-Elizabeth O'Brien is professor of German and the Courtney and Steven Ross Chair in Interdisciplinary Studies at Skidmore College in Saratoga Springs, New York. Her book Nazi Cinema as Enchantment: The Politics of Entertainment in the Third Reich (Camden House, 2004) explores how cinema participated in the larger framework of everyday fascism. Currently she is writing a book on national identity in post-wall German cinema. Barbara Pichler is the director of Diagonale, the festival of Austrian film at Graz, which is the main platform for the presentation and discussion of Austrian film. She studied theatre and film at the University of Vienna and at the British Film Institute. An experienced member of film-festival juries, she is also an adjunct lecturer on film at the University of Vienna and the co-editor of moving landscapes: Landschaft und Film (Synema, 2006) and James Benning (FilmmuseumSynemaPublikationen, 2007). James M. Skidmore is associate professor and chair of the Department of Germanic and Slavic Studies at the University of Waterloo, Ontario. Florentine Strzelczyk is associate professor of German and director of the Language Research Centre at the University of Calgary, Alberta. Her research interests include the concept of Heimat in literature and film, and the afterlife of Nazism in North American cinema. She is the author of Unheimliche Heimat: Reibungsflächen zwischen Kultur und Nation (Iudicium, 1999) and co-editor of Glaube und Geschlecht: Fromme Frauen-Spirituelle ErfahrungenReligióse Traditionen (Böhlau, 2008). Michael Zimmermann teaches in the Department of International Languages at the University of Regina, Saskatchewan. His areas of research interest are the twentieth-century novel, film, German as a heritage language, and language pedagogy.

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Book SynopsisEssays shedding light on the increasingly open cultural debate on the German past. Since unification in 1990, Germany has seen a boom in the confrontation with memory, evident in a sharp increase in novels, films, autobiographies, and other forms of public discourse that engage with the long-term effects of National Socialism across generations. Taking issue with the concept of "Vergangenheitsbewältigung," or coming to terms with the Nazi past, which after 1945 guided nearly all debate on the topic, the contributors to this volume view contemporary German culture through the more dynamic concept of "memory contests," which sees all forms of memory, public or private, as ongoing processes of negotiating identity in the present. Touching on gender, generations, memory and postmemory, trauma theory, ethnicity, historiography, and family narrative, the contributions offer a comprehensive picture of current German memory debates, in so doing shedding light on the struggle to construct a Germanidentity mindful of but not wholly defined by the horrors of National Socialism and the Holocaust. Contributors: Peter Fritzsche, Anne Fuchs, Elizabeth Boa, Stefan Willer, Chloe E. M. Paver, Matthias Fiedler, J. J. Long, Dagmar C. G. Lorenz, Cathy S. Gelbin, Jennifer E. Michaels, Mary Cosgrove, Andrew Plowman, Roger Woods. Anne Fuchs is Professor of Modern German literature and Georg Grote is Lecturer in German history, both at University College Dublin. Mary Cosgrove is Lecturer in German at the University of Edinburgh.Trade ReviewWinner of the 2007 CHOICE Outstanding Academic Title Award * . *The studies collected in this volume succeed in substantiating the overarching claim of a pluralization of memorialization and in illuminating its facets. * ARBITRIUM *This volume presents a timely and comprehensive summary of the current interest ... in post-unification discourses of memory in relation to Germany's various 'pasts', above all the Nazi past.... This volume makes a significant contribution to the field of cultural memory and to the study of contemporary responses to Germany's multifaceted past. * MODERN LANGUAGE REVIEW *The strength of this book lies in the fact that the issue of German memory is an important current topic in Germanistik and German Studies and will likely continue to flourish as more primary sources on this topic are published in Germany and Austria. * MONATSHEFTE *Of particular interest are essays on underresearched topics: post-Shoah Jewish writing, Afro-German writers in postunification Germany, and strategies of the New Right in Germany. ...A splendid volume. * CHOICE *The book contains many thought-provoking and balanced essays as well as a very helpful critical apparatus for postgraduates working on self-reflective German literature and/or film of the 20th century. * GERMANISTIK IN IRELAND *Table of ContentsIntroduction: Germany's Memory Contests and the Management of the Past - Mary Cosgrove and Anne Fuchs What Exactly Is Vergangenheitsbewältigung? Narrative and Its Insufficiency in Postwar Germany - Peter Fritzsche The Tinderbox of Memory: Generation and Masculinity in Väterliteratur by Cristoph Meckel, Uwe Timm, Dagmar Leupold, and Ulla HahnDagmar Leupold, and Ulla Hahn - Anne Fuchs Telling It How It Wasn't: Familial Allegories of Wish-Fulfillment in Postunification Germany - Elizabeth Boa Being Translated: Exile, Childhood, and Multilingualism in G.-A. Goldschmidt and W. G. Sebald - Stefan Willer "Ein Stück langweiliger als die Wehrmachtsausstellung, aber dafür repräsentativer": The Exhibition Fotofeldpost as Riposte to the "Wehrmacht Exhibition"Exhibition" - Chloe Paver German Crossroads: Visions of the Past in German Cinema after Reunification - Matthias Fiedler Monika Maron's Pawels Briefe: Photography, Narrative, and the Claims of Postmemory - Jonathan Long Imagined Identities: Children and Grandchildren of Holocaust Survivors in Literature - Dagmar C. G. Lorenz Of Stories and Histories: Golem Figures in Post-1989 German and Austrian Culture - Cathy Gelbin Multi-Ethnicity and Cultural Identity: Afro-German Women Writers' Struggle for Identity in Post-Unification GermanyGermany - Jennifer E. Michaels The Anxiety of German Influence: Affiliation, Rejection, and Jewish Identity in W. G. Sebald's Work - Mary Cosgrove Between "Restauration" and "Nierentisch": The 1950s in Ludwig Harig, F. C. Delius, and Thomas Hettche - Andrew Plowman On Forgetting and Remembering: The New Right since German Unification - Roger Woods

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

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Book Synopsis• Insider author gives no-nonsense advice• Required reading for film students, educators, anyone interested in filmFrom script analysis to post production, here is the all-inclusive guide to directing for film and television. Written by noted director-producer Myrl Schreibman, The Film Director Prepares offers practical insights on filmmaking, using real-life examples directors won’t learn in school. With topics including working with actors, using the camera to tell a story, setting mood, staging, maintaining performance levels, covering shots, and directing for different mediums, The Film Director Prepares will leave new directors truly prepared for their careers.

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Book Synopsis

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