Films, cinema Books

Book SynopsisMore than a century ago, filmmakers made their primary focus innovative and widely promulgated visions of antiquity, creating a profound effect on the critical, popular, and scholarly reception of antiquity. In this volume, scholars from a variety of countries and varying academic disciplines have addressed film’s way of using the field of Classical Reception to investigate, contemplate, and develop hypotheses about present-day culture, society, and politics, with a particular emphasis on gender and gender roles, their relationship to one another, and how filmic constructions of masculinity and femininity shape and are shaped by interacting economic, political, and ideological practices.Trade Review"[A] obra é um rico contributo no justificar da percepção de como a indústria do cinema tem ajudado à nossa compreensão de nós mesmos, da nossa cultura e sociedade, e de como o conhecimento cultural e social, bem como a experiência, pode ser veiculado pelos filmes e pelas imagens" Ricardo Duarte, CADMO, Revista de História Antiga 23 (2014), pp. 249-252.Table of ContentsHistorical Ancients Ben-Hur and Gladiator: Manifest Destiny and the Contradictions of American Empire, Jon Solomon Muscles and Morals: Spartacus, Ancient Hero of Modern Times, Thomas Späth & Margrit Tröhler With Your Shield or On it: The Gender of Heroism in Zack Snyder’s 300 and Rudoph Maté’s The 300 Spartans, Thorsten Beigel ‘This is Sparta!’: Discourse, Gender, and the Orient in Zack Snyder’s 300, Jeroen Lauwers, Marieke Dhont & Xanne Huybrecht ‘Everybody Loves a Muscle Boi’: Homos, Heroes, and Foes in Post-9/11 Spoofs of The 300 Spartans, Ralph Poole The Womanizing of Mark Antony: Virile Ruthlessness and Redemptive Cross-Dressing in Rome, Season Two, Margaret M. Toscano Cleopatra’s Venus, Elisabeth Bronfen Mythological Ancients Over his Dead Body: Male Friendship in Homer’s Iliad and Wolfgang Petersen’s Troy (2004), Andreas Krass Models of Masculinities in Troy: Achilles, Hector and Their Female Partners, Celina Proch & Michael Kleu ‘Include me out’ – Odysseus on the Margins of European Genre Cinema: Le Mépris, Ulisse, L’Odissea, Christian Pischel Between Mythical and Rational Worlds: Medea by Pier Paolo Pasolini, Lada Stevanovic Gender Norms and Hindu Authority in the Global Media Debate on Representing the Hindu God Krishna in Xena: Warrior Princess, Xenia Zeiler Mythological and Historical Thematics Ancient Women’s Cults and Rituals in Grand Narratives on Screen: From Disney’s Snow White to Olga Malea’s Doughnuts with Honey, Svetlana Slapšak Pandora-Eve-Ava: Albert Lewin’s Making of a ‘Secret Goddess’, Almut-Barbara Renger Phryne Paves the Way for the Wirtschaftswunder: Visions of Guilt and ‘Purity’ Fed by Ancient Greece, Christian Narrative, and Contemporary History, Barbara Schrödl The New Israeli Film Beruriah: Between Rashi and Talmud, between Antiquity and Modernity, between Feminism and Religion, Tal Ilan

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Book SynopsisIn Shanghai Filmmaking, Huang Xuelei invites readers to go on an intimate, detailed, behind-the-scenes tour of the world of early Chinese cinema. She paints a nuanced picture of the Mingxing Motion Picture Company, the leading Chinese film studio in the 1920s and 1930s, and argues that Shanghai filmmaking involved a series of border-crossing practices. Shanghai filmmaking developed in a matrix of global cultural production and distribution, and interacted closely with print culture and theatre. People from allegedly antagonistic political groupings worked closely with each other to bring a new form of visual culture and a new body of knowledge to an audience in and outside China. By exploring various border crossings, this book sheds new light on the power of popular cultural production during China’s modern transformation.Trade Review“Huang Xuelei invites readers to go on a delightful tour that will familiarize them with the unforgettable personalities and practices responsible for the remarkable Mingxing story. When this special tour is over, readers will know much more about the complex origins of Chinese filmmaking and how these origins help us better understand the complicated world of Chinese filmmaking today.” Paul G. Pickowicz, University of California, San Diego "[Huang]'s interdisciplinary approach ultimately adds richness to our understanding of Mingxing, and the historiographical method of multiple strands provides us with a comprehensive and palimpsestic picture. [Huang] argues that melodrama is the social form and the narrative mode favored by all, thereby explaining its dominance in Mingxing production. [Huang], like some scholars of Chinese cinema, has traced the cross-cultural influence of melodrama in, for instance, transnational remakes or adaptation while noting the multiplicity of genres produced by Mingxing." Xiangyang Cindy Chen, independent scholar, China Review International, Vol. 21, No. 1, 2014. "Shanghai Filmmaking [is] a key volume in the rapidly expanding library of books on Chinese cinema of the Republican era, and one which will have lasting value for scholars for years to come." -Chris Berry, The China Quarterly, Volume 221, March 2015, pp 279-280.Table of ContentsFigures, Charts, and Tables Conventions and Abbreviations Acknowledgements Foreword Paul G. Pickowicz INTRODUCTION: Shanghai Filmmaking: Border-crossing Practices PART I PRODUCTION 1. The Business 2. Players in the 1920s: Interconnecting, Mediating 3. Players in the 1930s: Contestation? Collaboration? PART II PRODUCT 4. The Medium: Inside Glocal Mediascapes 5. The Narrative (I): Melodrama as a Social Form 6. The Narrative (II): Melodramas Fit for All 7. The Meaning: Toward a Sentimental Education EPILOGUE: Toward a Glocal Viewing Public Appendix I: Filmography Appendix II: Mingxing Personnel Bibliography

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Book SynopsisIn the midst of National-Catholic outrage and censorship, Billy Wilder’s films helped open up the repertoire for moviegoers during Francoism. Vandaele’s Estados de Gracia contends that this explains why Wilder is still considered a cinematic god in Spain. En medio de la indignación y la censura nacional-católica, Billy Wilder contribuyó a renovar el cine para el público del franquismo. En Estados de Gracia, Vandaele sugiere que ello explica por qué Billy Wilder sigue siendo un dios del cine en España.Trade Review"This is fascinatingly detailed historical description but also far more: Vandaele recounts the drama of how Wilder's comedy entangled the censor and became something quite new, in a new language and country, deploying Freudian intrigue on a social and political scale." "Este estudio es mucho más que la descripción fascinante de un destacado proceso de recepción. Vandaele pone al descubierto los engaños y las estratagemas con los que las comedias de Wilder intentan burlar a la censura, y cómo estas, en otro idioma y otro país, se transforman en algo nuevo, maquinando a nivel social y político una intriga psíquica al modo de otro famoso judío vienés." - Anthony Pym, President of the European Society for Translation Studies, Professor of Translation and Intercultural Studies (Universitat Rovira i Virgili) "Successfully engaging with several disciplines --film studies, translation studies, and Spanish studies-- Vandaele's original and exciting book reveals in all its depth a scarcely explored episode of Francoism, and illustrates to what extent dubbing can truly become a political instrument." "El trabajo de Jeroen Vandaele sabe conectar con éxito varios terrenos académicos: los estudios del cine, los estudios de traducción, y el hispanismo. El resultado, original y apasionante, revela en toda su profundidad un episodio apenas estudiado de la dictadura franquista y demuestra la auténtica capacidad del doblaje como herramienta política." - Daniel Sánchez Salas, Professor of Film Studies (Universidad Rey Juan Carlos) “minucioso, importante y original” - Jordi Cornellà-Detrell, University of Glasgow, in Bulletin of Spanish Visual Studies, 2017 pp.312-313 “una obra de referencia para aquel investigador que desee explorar [la] intrincada relación entre traducción y censura bajo la época franquista” - Purificación Meseguer Cutillas, in Bulletin of Hispanic Studies, Vol. 94.9 2017, pp. 1035-1036Table of ContentsPrefacio 1. Expositio 1.1 El campo plural: traducción, franquismo, poética 1.2 El caso particular: Billy Wilder 1.3 El franquismo y Billy Wilder 1.3.1 Etapas, ideologías e instituciones 1.3.2 23 películas ante 6 Juntas 1.4 Los ideólogos de la Censura Estatal 2. Los Estados de Gracia y sus principios 2.1 Historia y hermenéutica 2.1.1 Billy Wilder: lecturas franquistas y otras 2.1.2 Reflexiones historiográficas: tensiones y trasvases 2.2 Poética y retórica 2.2.1 La ficción cinematográfica, ¿estado de gracia? 2.2.2 El humor, ¿estado de gracia? 2.2.3 Reflexiones retóricas: seriedad y juego 3. La polifonía armonizada 3.1 En busca de doblajes franquistas 3.1.1 Voces de doblaje 3.1.2 Circuitos de doblaje 3.2 La censura — un estudio traductológico 3.2.1 El título como principio 3.2.2 El FIN que justifica los medios 3.2.3 Character assassination, al revés 3.2.4 Humor narrativo 3.2.5 Irrupciones y alusiones 4. Conclusión Apéndice 1: nómina de censores Apéndice 2: doblajes de Billy Wilder Bibliografía Índice alfabético

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Book SynopsisSince cinema is a composite language, describing a movie is a complex challenge for critics and writers, and greatly differs from the ancient and successful genre of the ekphrasis, the literary description of a visual work of art. Imaginary Films in Literature deals with a specific and significant case within this broad category: the description of imaginary, non-existent movies – a practice that is more widespread than one might expect, especially in North American postmodern fiction. Along with theoretical contributions, the book includes the analyses of some case studies focusing on the borders between the visual and the literary, intermedial practices of hybridization, the limits of representation, and other related notions such as “memory”, “fragmentation”, “desire”, “genre”, “authorship”, and “censorship”.Table of ContentsAcknowledgements Notes on Contributors Introduction Massimo Fusillo The Aesthetics of Imaginary Films Notes Toward a Theory of Cinematic “Ekphrasis” James A. W. Heffernan The Killing Vision: David Foster Wallace’s Infinite Jest Stefano Ercolino Hybridizations “Writing The Making Of”: A New Literary Genre? Jan Baetens “A Film Run in Installments”: Memory and Cinema in Tom McCarthy’s Remainder Vincenzo Maggitti Towards Other Worlds, Towards Other Meanings: Screenplays on the Edge of the Plot Clotilde Bertoni Paul Auster, Hector Mann and The Book of Illusions Anna Scannavini Mañana en la batalla piensa en mí: Cinema, Theatre, Television and the Creative Force of the Word Federica Ivaldi Failed Cinema “Quo Vadis – Kino?” Kurt Pinthus and the Theoretical Debate on the Birth of Cinema in Germany Luca Zenobi The Outer Life of Martin Frost, or Never Make an Imaginary Film Silvia Albertazzi On Conceiving (and Sometimes Not Succeeding in Making) a Film Giulio Iacoli The Politics of Imaginary Films The “Quasi-Truth”. Literature and Cinema in Starnone and Piccolo Gianluigi Simonetti Breakfast at the Prater. Christopher Isherwood, His Women and Men Gian Piero Piretto The Technological Imagery Alpdrücken and the Spectrum of Power in Gravity’s Rainbow by Thomas Pynchon Mirko Lino Pattern Recognition: The “Postcinema” Seen by William Gibson Simone Arcagni Bibliography Index

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Book SynopsisTaking an interdisciplinary approach, this volume brings together contributions by distinguished experts from different disciplinary fields for a multidimensional view on immersion in the visual arts and media. In the current media debate, immersion has frequently been linked to the advent of digital technology and its capacity to provide vivid sensations of being placed in or surrounded by an artificial space. The idea of ‘liquidity’ contained in this promise to plunge into another world informs wide areas of contemporary cultural imagination, referring to a myriad of phenomena that relate to experiences of uncertainty and instability, of complexity and change. Considering the fact, however, that the idea of ‘liquid’ spaces appeared long before the digital creation of augmented or virtual environments, the contributors to this volume trace its reemerging throughout the history of the visual arts and media. By focusing on selected works of painting and architecture, photography and cinema, video installation and media art, they explore the variability of immersive experiences according to the different media environments and interfaces that constitute the actual sites of historically shifting relations between media and users. Contributors are: Matthias Bauer, Jörg von Brincken, Robin Curtis, Burcu Dogramaci, Thomas Elsaesser, Ole W. Fischer, Gundolf S. Freyermuth, Ursula Frohne, Henry Keazor, Matthias Krüger, Katja Kwastek, Fabienne Liptay, Karl Prümm, Martin Warnke.Table of ContentsIntroduction Burcu Dogramaci & Fabienne Liptay Immersion in the Visual Arts and Media Part 1: Materials and Sensations of Immersion Burcu Dogramaci Water, Steam, Light: Artistic Materials of Immersion Robin Curtis Immersion and Abstraction as Measures of Materiality Katja Kwastek Immersed in Reflection: The Aesthetic Experience of Interactive Media Art Fabienne Liptay Neither Here nor There: The Paradoxes of Immersion Jörg von Brincken Phantom-Drug-Death Ride: The Psycho-sensory Dynamic of Immersion in Gaspar Noé’s Enter the Void Part 2: Archaeologies and Technologies of Immersion Karl Prümm From the Unchained to the Ubiquitous Motion-Picture Camera: Camera Innovations and Immersive Effects Gundolf S. Freyermuth From Analog to Digital Image Space: Toward a Historical Theory of Immersion Martin Warnke On the Spot: The Double Immersion of Virtual Reality Ursula Frohne Expansion of the Immersion Zone: Military Simulacra between Strategic Training and Trauma Thomas Elsaesser Immersion between Recursiveness and Reflexivity: Avatar Part 3: Landscapes and Architectures of Immersion Henry Keazor Projection Rooms: Film as an Immersive Medium in the Architecture of Jean Nouvel Ole W. Fischer “The Treachery of Images”: Architecture, Immersion, and the Digital Realm Matthias Krüger Painting Immersion: Hans Thoma’s Landscapes Matthias Bauer Immersive Exhibition Design: Titanic Belfast and the Concept of Scenography Notes on Contributors Index of Names

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Book SynopsisThis is the first book-length introduction in Spanish to the current debate on transnationality in Spanish and Latin American cinema, with theoretical and analytical contributions by several of the leading scholars in the field. Éste es el primer libro en español que se dedica enteramente a plantear el debate contemporáneo acerca de la transnacionalidad del cine español y latinoamericano, con aportaciones teóricas y críticas que ofrecen algunos de los mejores especialistas.Table of ContentsPreliminares Introducción al volumen (Robin Lefere y Nadia Lie) Lo transnacional en el cine hispánico: deslindes de un concepto (Nadia Lie) I Modos de producción y de distribución Navegar por el frío mar Atlántico. España y los ensayos de un cine transnacional en español (1948-1962) (Marina Díaz López) Almodóvar en la frontera: El Deseo y la estética de las coproducciones transnacionales (Marvin D’Lugo) Un impulso transnacional al cine latinoamericano de festivales. El programa Cine en Construcción (Minerva Campos) El BAFICI como ventana al mundo del cine argentino (Sergio Wolf) II Directores Buñuel y Saura, ¿directores “transnacionales”? (Robin Lefere) Lo transnacional como expresión de cuestionamientos identitarios en los documentales de Edgardo Cozarinsky y Alberto Yaccelini (Pablo Piedras) La vida secreta de las palabras (2005) de Isabel Coixet. Un testimonio transnacional (Pietsie Feenstra) Multilingüismo y subtitulación: la (in)comunicación en Babel (An Van Hecke) III Modos narrativos Travelling cinema – La road movie latinoamericana en el contexto global (Verena Berger) El discurso espacial de la road movie en América Latina (Michael Chanan) La infancia entre nación y transnación en varias películas coproducidas del cine hispanoamericano contemporáneo (Sophie Dufays) Cine queer latinoamericano y las coproducciones europeas (Deborah Shaw) Fichas biobibliográficas de los autores Índice

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Book SynopsisNeo-Victorian Villains is the first edited collection to examine the afterlives of such Victorian villains as Dracula, Svengali, Dorian Gray and Jekyll and Hyde, exploring their representation in neo-Victorian drama and fiction. In addition, Neo-Victorian Villains examines a number of supposedly villainous types, from the spirit medium and the femme fatale to the imperial ‘native’ and the ventriloquist, and traces their development from Victorian times today. Chapters analyse recent theatre, films and television – from Ripper Street to Marvel superhero movies – as well as classic Hollywood depictions of Victorian villains. In a wide-ranging opening chapter, Benjamin Poore assesses the legacy of nineteenth-century ideas of villains and villainy in the twentieth and twenty-first centuries. Contributors are: Sarah Artt, Guy Barefoot, Jonathan Buckmaster, David Bullen, Helen Davies, Robert Dean, Marion Gibson, Richard Hand, Emma James, Mark Jones, Emma V. Miller, Claire O’Callaghan, Christina Parker-Flynn, Frances Pheasant-Kelly, Natalie Russell, Gillian Piggott, Benjamin Poore and Rob Welch.Table of ContentsList of Figures The Villain-Effect: Distance and Ubiquity in Neo-Victorian Popular Culture Benjamin Poore Part 1: Theatrical Transformations 1 'A Perfect Demon’: Michael Eaton's Charlie Peace: His Amazing Life & Astounding Legend Richard J. Hand 2 Miss Representation: The Femme Fatale and the Villainy of Performance in Neo-Victorian Hollywood Christina Parker-Flynn 3 Melodramatic Villainy (Just) after the Victorians Guy Barefoot 4 Imperial Heroes and Native Villains Robert Dean 5 Sonorous Psychopaths: Neo-Victorian Ventriloquists on Screen Gillian Piggott Part 2: Transitional and Liminal Figures 6 Kissing the Medium: The Spiritualist-Witch as Countercultural Heroine in the Thirty-Nine Steps (1959) Marion Gibson 7 Jack the Representation: The Ripper in Culture Mark Jones 8 On the Origin of a Supervillain: The Neo-Victorian Reinvention of Mister Sinister David Bullen 9 Framing Our Fearful Symmetry: Substance Dualism, Reincarnation and the Villainy of the Disembodied Soul Emma V. Miller Part 3: Neo-Victorian Sex and 'Sexsation' 10 The Postfeminist Tart: Neo-Victorian Villainy and Sex Work in Ripper Street Sarah Artt 11 "I raise the devil in you, not any potion. My touch": The Strange Case of Heterosexuality in Neo-Victorian Versions of Jekyll and Hyde Helen Davies 12 A Wilde Scoundrel: Villainy and 'Lad Culture' in the Filmic Afterlives of Dorian Gray Claire O’Callaghan Part 4: Literary Villains Reimagined 13 Svengali: The Evolution of Ethnic Evil through Adaptation Rob Welch 14 From 'the wicked man' to the 'bastard boy of seven': The Evolution of John Jasper's Villainy in Adaptations of The Mystery of Edwin Drood Jonathan Buckmaster 15 "I’m always angry": Super-Hydes and the Appropriation of Edward Hyde in Superhero Films Emma A. Harris 16 Revisionist Vampires: Transcoding, Intertextuality, and Neo-Victorianism in the Film Adaptations of Bram Stoker's Dracula Frances Pheasant-Kelly and Natalie Russell Index

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Book SynopsisRecent narrative fiction and film increasingly exploit, explore and thematize the embodied mind, revealing the tenacity of a certain brand of humanism. The presence of narratively based concepts of personal identity even in texts which explore posthuman possibilities is strong proof that our basic understanding of what it means to be human has, despite appearances, remained mostly unchanged. This is so even though our perception of time has been greatly modified by the same technology which both interrupts and allows for the rearrangement of our experience of time at a rate and a level of ease which, until recently, had never been possible. Basing his views on a long line of philosophers and literary theorists such as Paul Ricoeur, Daniel Dennett and Francisco Varela, Escobar maintains in The Persistence of the Human that narrative plays an essential role in the process of constituting and maintaining a sense of self. It is narrative’s effect on the embodied mind which gives it such force. Narrative projects us into possible spaces, shaping a temporary corporeality termed the “meta-body,” a hybrid shared by the lived body and an imagined corporeal sense. The meta-body is a secondary embodiment that we inhabit for however long our narrative immersion lasts – something which, in today’s world, may be a question of milliseconds or hours. The more agreeable the meta-body is, the less happy we are upon being abruptly removed from it, though the return is essential. We want to be able to slip back and forth between this secondary embodiment and that of our lived body; each move entails both forgetting and remembering different subject positions (loss and recuperation being salient themes in the works which highlight this process). The negotiation of the transfer between these states is shaped by culture and technology and this is something which is precisely in flux now as multiple, ephemeral narrative immersion experiences are created by the different screens we come into contact with.Table of ContentsIntroduction 1 The Human, Consciousness and Its Temporality Humanism Human Freedom What Makes One Human? Consciousness Daniel Dennett on Consciousness: The Human as Virtual Machine Temporality, Consciousness and Ethics Immersion and Framing: The Experience of Film and Literature Embodied Drafts 2 Testing the Human: Trauma, Memory and Consciousness Trauma and the Temporality of the Self Memento The Spectral Past Self Memory, Identity and Ethics Rendering Pain Visible in Memento 3 The Phantom Limb: Specters, Trauma, and Meta-body Meta-body The Body Artist Projecting the Self into a Different Emptiness Erasing the Self You are Made out of Time Recovering the Self The Bird and the Strand of Hair Sous le sable Water Time Lets Fall Its Drop Meta-body in Sous le sable Naissance des fantômes 4 Survival: Human and Posthuman The Temporality of the Paralyzed Body Starting with “I” Correcting the Past Destroying the Self to Save It Posthuman Consciousness Parfit on Transpersonal Survival Postpersonal Identity The Absent Machine The Machine Speaks Involuntary Immortality The Recuperative Project Self-possession Conclusion Pain and the Clean Slate The Other Penetrating / Occupying the Self Bibliography Index

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Book SynopsisThe Baroque is back in contemporary culture. The ten essays authored by international scholars, and three interventions by artists, examine the return of the baroque as Neo-Baroque through interdisciplinary perspectives. Understanding the Neo-Baroque as transcultural (between different cultures) and transhistorical (between historical moments) the contributors to this volume offer diverse perspectives that suggest the slipperiness of the Neo-Baroque may best be served by the term ‘Neo-Baroques’. Case studies analysed reflect this plurality and include: the productions of Belgian theatre company Abattoir Fermé; Claire Denis’ French New Extremist film Trouble Every Day; the novel Lujuria tropical by exiled El Salvadorian Quijada Urias; the science fiction blockbuster spectacles The Matrix and eXistenZ; and the spectacular grandeur of early Hollywood movie palaces and the contemporary Las Vegas Strip. Contributors: Jens Baumgarten, Marjan Colletti, Bolívar Echeverría, Rita Eder, Hugh Hazelton, Monika Kaup, Peter Krieger, Patrick Mahon, Walter Moser, Angela Ndalianis, Richard Reddaway, Karel Vanhaesebrouck, Saige Walton.Table of ContentsBook Introduction—Walter Moser Part One: Neo-Baroques Part One Introduction—Walter Moser 1. Meditations on the Baroque—Bolívar Echeverría 2. Reconsidering Metatheatricality: Towards a Baroque Understanding of Postdramatic Theatre—Karel Vanhaesebrouck 3. Fabricating Film: The Neo-Baroque Folds of Claire Denis—Saige Walton 4. Baroque Affinities : Wölfflin, Visconti, the Baroque and the Films of Glauber Rocha—Rita Eder 5. Artist’s Essay: The Neo-Baroque and Complexity—Richard Reddaway Part Two: Religion Part Two Introduction—Angela Ndalianis 6. Afro-Caribbean Belief Systems and the Neo-Baroque Novel: The Duel of Faiths in Alejo Carpentier’s El reino de este mundo and Ludic Voodoo in Alfonso Quijada Urías’s Lujuria tropical —Hugh Hazelton 7. Temporal and Local Transfers: The Neo-Baroque Between Politics, Religion and Entertainment —Jens Baumgarten 8. The Religious Shines Through: Religious Remnants and Resurgences in 90s Cinema —Walter Moser 9. Artist’s Essay: Towers, Shipwrecks, and Neo-Baroque Allegories—Patrick Mahon Part Three: Cities Part Three Introduction—Peter Krieger 10. Symbolic Dimensions and Cultural Functions of the Neo-Baroque Balustrade in Contemporary Mexico City: An Alternative Learning from Las Vegas—Peter Krieger 11. Mexico City’s Dissonant Modernity and the Marketplace Baroque: Salvador Novo’s Nueva grandeza mexicana and Bernardo de Balbuena’s La grandeza mexicana—Monika Kaup 12. Baroque Theatricality and Scripted Spaces: From Movie Palace to Las Vegas Casinos—Angela Ndalianis 13. Artist’s Essay: Post-Digital Neo-Baroque: Reinterpreting Baroque Reality in Contemporary Architectural Design—Marjan Colletti AUTHOR BIOGRAPHIES

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Book SynopsisRepresenting Wars from 1860 to the Present examines representations of war in literature, film, photography, memorials, and the popular press. The volume breaks new ground in cutting across disciplinary boundaries and offering case studies on a wide variety of fields of vision and action, and types of conflict: from civil wars in the USA, Spain, Russia and the Congo to recent western interventions in Afghanistan and Iraq. In the case of World War Two, Representing Wars emphasises idiosyncratic and non-western perspectives – specifically those of Japanese writers Hayashi and Ooka. A central concern of the thirteen contributors has been to investigate the ethical and ideological implications of specific representational choices. Contributors are: Claire Bowen, Catherine Ann Collins, Marie-France Courriol, Éliane Elmaleh, Teresa Gibert, William Gleeson, Catherine Hoffmann, Sandrine Lascaux, Christopher Lloyd, Monica Michlin, Guillaume Muller, Misako Nemoto, Clément Sigalas.Table of ContentsAcknowledgements List of Figures List of Contributors Introduction Part 1: The Spectacle of War 1 Deconstructing the Spectacle of War? Brian de Palma’s Redacted, Nick Broomfield’s Battle for Haditha, Paul Haggis’s In the Valley of Elah and the Iraq War  Monica Michlin 2 The War in Images: The Poetics of Plasticity in Juan Benet’s Herrumbrosas lanzas  Sandrine Lascaux and Trans. Claire Bowen 3 The Second World War Seen from the Balcony: Representations of the Spectacle of War in the French Post-War Novel  Clément Sigalas Part 2: At a Distance from War 4 The “Comic Opera” of the Allied Intervention in Russia: Off-Staging War in William Gerhardie’s Early Novels  Catherine Hoffmann 5 Margaret Atwood’s Representation of Modern and Imaginary Warfare  Teresa Gibert 6 Memory Keeping and Visual Narratives of Commemoration: Representing Interned Japanese Americans during World War ii  Catherine Collins Part 3: Bringing the War Home 7 Martha Rosler, an American Artist at War with War  Éliane Elmaleh 8 Conflicting Documentary Strategies and Italian Counter-propaganda in the Spanish Civil War  Marie-France Courriol 9 Revisiting the Congo’s Forgotten Wars: Jean Lartéguy’s Les Chimères noires and the Secession of Katanga  Christopher Lloyd 10 “A Boy and His Dog…”: The War in Afghanistan and Storytelling  Claire Bowen Part 4: Experiencing War and Bearing Witness 11 Aphonic Images: Aurality and Silence in Civil War Photography  William Gleeson 12 Profiles of War by Hayashi Fusao: A Writer’s Approach to War  Guillaume Muller 13 Ōoka Shōhei’s Democratization of the Self  Misako Nemoto Conclusion Select Bibliography Index

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Book SynopsisIn Postsocialist Conditions: Idea and History in China’s “Independent Cinema,” 1988-2008, WANG Xiaoping offers a comprehensive survey and trenchant critique of China’s “Independent Cinema” by the sixth-generation auteurs. By showing the multi-valence of the postsocialist conditions in contemporary Chinese society, their films articulate a new cultural-political logic in postsocialist China, which is also the logic of the market in this era of neoliberal transformation, brought about by the forces of marketization since the late 1980s. The directors laudably show the spirits of humanism and the humanitarian concerns of the underclass, yet the shortage and repudiation of class analysis prohibits the artists from exploring the social contradictions and the cause of class restructuration.Table of ContentsContents Acknowledgments List of Illustrations Introduction: Articulating the Logic of China’s Postsocialist Society in the Era of Neo-Liberal Transformation 1 China in Transition: Jia Zhangke’s “Hometown Trilogy” 2 Postmodern Anomie or Postsocialist Alienation? 3 Problematic Narration of the Historical Experience of Working Class 4 Portraying the Abject and the Sublime of the Subaltern 5 Exhibiting the Confusion and Melancholy of Artists 6 Women’s Changing Destiny in the Post-Revolutionary Fantasyland 7 In the Name of Love: Ideology of the Elite Class 8 Whither China? Wang Chao’s “China Trilogy” Conclusion: On the Historicity of the Sixth-Generation Auteurs and China’s “Independent” Cinema Filmography Selected Bibliography Index

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Book SynopsisThis volume focusses on a rarely discussed method of meaning production, namely via the absence, rather than presence, of signifiers. It does so from an interdisciplinary, transmedial perspective, which covers systematic, media-comparative and historical aspects, and reveals various forms and functions of missing signifiers across arts and media. The meaningful silences, blanks, lacunae, pauses, etc., treated by the ten contributors are taken from language and literature, film, comics, opera and instrumental music, architecture, and the visual arts. Contributors are: Nassim Balestrini, Walter Bernhart, Olga Fischer, Saskia Jaszoltowski, Henry Keazor, Peter Revers, Klaus Rieser, Daniel Stein, Anselm Wagner, Werner Wolf

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Book SynopsisThis study deepens our historical understanding of the North-African Jewish and Middle Eastern Jewish experience during WWII, which is often under- or mis-represented by the media in Israel, the Arab world, France, and Italy. Public, historical and sociocultural discourse is examined to clarify whether these communities are accepted by the world as "Holocaust survivors". Further, it determines the extent to which their wartime history is revealed to Israeli society in its cultural performances. Importantly, this work addresses the reasons why the Holocaust of North African Jewry is absent from Israeli and world consciousness. Finally, the study contemplates the consequences of these phenomena for Israeli society as well as in the colonial countries of France and Italy. "In addition to using academic resources, Golan captures this history from the margins by utilizing audio-visual and artistic media in addition to evidence recorded on community heritage websites, Facebook, and other online social networks. Golan’s book demonstrates that there is a moral imperative to preserve and transmit these memories of persecution and discrimination..." -David B Levy, Touro College, NYC, Association of Jewish Libraries News and Reviews 1.2 (2019)Trade Review"Yvonne Kozlovsky Golan’s book, Site of Amnesia, enriches our understanding, expands the possibilities for new research, and provides insight into how this unique aspect of the war was addressed and commemorated in film and television over the years." - Haim Saadoun, The Open University of Israel, in Antisemitism Studies 6.1 (2022)Table of ContentsPreface and Acknowledgements Introduction 1 Origins and Description of Multilateral Development Banks’ Sanctions Regimes  Introduction  1 Origins of Multilateral Development Banks’ Sanctions Regime   A Federal Acquisition Regulation (far)    (i) Causes for Debarment    (ii) Suspension    (iii) Debarment Procedures    (iv) Judicial Review and Due Process Rights   B Evolution of the World Bank Group’s Sanctions System    (i) First Sanctions Regime    (ii) The Thornburgh Report    (iii) Expansion of Sanctions Regime beyond Procurement and Launch of the Voluntary Disclosure Programme    (iv) Early Harmonisation Efforts with Other mdbs  2 Description of Multilateral Development Banks’ Sanctions Regimes   A World Bank Group’s Sanctions Regime    (i) Two-Step Decision-Making Process    (ii) Range of Possible Sanctions    (iii) Settlements   B Inter-American Development Bank’s Sanctions Regime    (i) Early Developments and the Thornburgh Report    (ii) Two-Step Decision-Making Process    (iii) Range of Possible Sanctions    (iv) Settlements   C European Bank for Reconstruction and Development’s Sanctions Regime    (i) Early Developments    (ii) Two-Step Decision-Making Process    (iii) Range of Possible Sanctions    (iv) Settlements   D African Development Bank’s Sanctions Regime    (i) Early Developments    (ii) Two-Step Decision-Making Process    (iii) Range of Possible Sanctions    (iv) Settlements   E Asian Development Bank’s Sanctions Regime    (i) Early Developments    (ii) Two-Step Decision-Making Process    (iii) Range of Possible Sanctions  3 Comparison of Multilateral Development Banks’ Sanctions Regimes and the Cross-Debarment Regime   A Comparison of Multilateral Development Banks’ Sanctions Regimes   B Cross-Debarment Regime  Conclusion 2 Judicial Review Standards  Introduction  1 Judicial Review Standards in the uk   A Bases for Judicial Review   B Required Procedures    (i) Notice    (ii) Right to Make Representations: Written or Oral Proceedings?    (iii) Right to Call and Cross-Examine Witnesses    (iv) Right to Legal Representation    (v) Failure to give Reasons for the Final Decision  2 Judicial Review Standards in the US   A Bases for Judicial Review   B Required Procedures  Conclusion 3 Accountability of International Organisations  Introduction  1 Basis of International Organisations’ Immunities  2 Case Law   A US Courts   B UK Courts   C Italian Courts   D French Courts   E Belgian Courts   F Human Rights Dimension and the echr  Conclusion 4 What Legal Principles Should Form the basis of mdbs’ Sanctions Regimes?  Introduction  1 Customary Law and General Principles  2 Global Administrative Law  3 Article 6(1) of the European Convention on Human Rights   A Civil Rights   B Hearing   C Independent and Impartial Tribunal  4 Public Judgment/Reasoning of Judicial Decisions    (i) Fair Trial  5 Jurisprudence of Multilateral Development Banks’ Administrative Tribunals   A Discovery Rights   B Oral Hearings and Witnesses   C Publication of Decisions   D Composition of Administrative Tribunals    (i) wbat    (ii) UN Appeals Tribunal    (iii) imf Administrative Tribunal  Conclusion 5 Due Process Standards in Multilateral Development Banks’ Sanctions Regimes  Introduction  1 Discovery Rights   A Permissive Approach and Production of Documents   B Experts’ Reports and Assessment of Evidence   C Witnesses and Oral Hearings  2 Publication of Decisions  3 Referral to National Authorities  4 Composition of Sanctions Boards   A Sanctions Board Members’ Independence and Impartiality   B Appointment of Sanctions Board Members  5 Range of Sanctions and their Proportionality to the Wrongdoing  6 Baseline Sanction  7 Restitution  8 Settlements  Conclusion 6 Treatment of Corporate Groups under Multilateral Development Banks’ Sanctions Regimes  Introductionv  1 Overview of the Harmonized Principles on Treatment of Corporate Groups  2 Liability of a Company for its Employees’ Wrongdoings   A US Law   B UK Law   C Application of the Foregoing Principles to mdbs’ Sanctions Procedures  3 Liability of a Parent for its Subsidiaries’ Wrongdoings   A US Law    (i) General Approach    (ii) Criminal Liability, Including fcpa    (iii) Proposals for Reforms of the US System   B UK Law    (i) General Approach    (ii) Criminal Liability, Including UK Bribery Act   C Application of the Foregoing Principles to mdbs’ Sanctions Procedures  4 Liability of a Subsidiary for its Parent’s Wrongdoings   A US and EU Sanctions Regimes   B Application of the Foregoing Principles to mdbs’ Sanctions Procedures  5 Successor Liability   A US Law   B UK Law   C Application of the Foregoing Principles to mdbs’ Sanctions Procedures  Conclusion 7 Conclusion and Way Forward Bibliography Index

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Table of ContentsPreface Part 1 Section 1: Film Music: Reflections on Functions 1 Music’s Body and the Moving Image  Lawrence Kramer 2 Disturbing Silences and Open Narratives: Musical Gaps in Fictional and Documentary Moving Images  Saskia Jaszoltowski 3 Traditional and Non-traditional Uses of Film Music, and Musical Metalepsis in The Truman Show  Werner Wolf 4 Homer and the Springfield Orchestra Bus: Four Test Cases for Any Future Challenge to the Diegetic/Non-diegetic Model  Jordan Carmalt Stokes Section 2: Film Music: Significant Intermedial Cases 5 Operatic Plurimediality in Italian Silent Cinema: Nino Oxilia and Pietro Mascagni’s Rapsodia Satanica (1915)  Bernhard Kuhn 6 Humanized Documentary, “Light” Verse, and Music Made to Fit: G.P.O. Film Unit/Auden/Britten’s Night Mail (1936)  Walter Bernhart 7 An Incarnation of Memory: Song as Absence in Claude Lanzmann’s Shoah  Ruth Jacobs 8 Accumulating Schubert: Music and Narrative in Nuri Bilge Ceylan’s Winter Sleep  Heidi Hart 9 Mise en scène, Mozart, and a Borrowed Chorale: Learned Style and Identity in Pawlikowski’s Ida  Christopher Booth Part 2: Intermedial Varieties 10 Shadow Images Moving to Music: La Tentation de saint Antoine in Montmartre  Peter Dayan 11 ‘The Big Turnaround in the Middle’: On the Silent Movie and the Film Music Interlude in Alban Berg’s Opera Lulu  Marion Recknagel 12 All the Pieces Matter: On Complex TV Music  Frieder von Ammon 13 The Music Videos of Alternative Rock Band They Might Be Giants: Prolegomena for a Theory of Nonsense across Media  Emily Petermann Part 3: Remediations 14 Thrilling Opera: Conflicts of the Mind and the Media in Kasper Holten’s Juan  Axel Englund 15 Novel, Woodcuts, Film, Music …: Pondering over the Title of Gara Garayev’s Symphony Engravings “Don Quixote”  Alla Bayramova 16 Film as Opera: Three Perspectives on Still Life and Brief Encounter  Michael Halliwell 17 On the Intertextual Docks, or, Whatever Happened to Shanghai Lil?  David Francis Urrows List of Figures Notes on Contributors Index

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Book SynopsisA Companion to Soviet Children’s Literature and Film offers a comprehensive and innovative analysis of Soviet literary and cinematic production for children. Its contributors contextualize and reevaluate Soviet children’s books, films, and animation and explore their contemporary re-appropriation by the Russian government, cultural practitioners, and educators. Celebrating the centennial of Soviet children’s literature and film, the Companion reviews the rich and dramatic history of the canon. It also provides an insight into the close ties between Soviet children’s culture and Avant-Garde aesthetics, investigates early pedagogical experiments of the Soviet state, documents the importance of translation in children’s literature of the 1920-80s, and traces the evolution of heroic, fantastic, historical, and absurdist Soviet narratives for children.Trade Review"A Companion to Soviet Children’s Literature and Film is essential reading for anyone interested in Soviet children’s culture. I would also recommend it to readers wanting to widen their perspectives on Russian culture in general. The images of famous avant-garde authors gain new dimensions through their works for children, and making acquaintance with hero narratives and historical fiction for children offers new approaches to the same themes in both literature and cultural studies. The illustrations chosen for the book give the reader a glimpse of the visual abundance of Soviet children’s literature and film." Jenniliisa Salminen, University of Turku, Finland, in Russian Review 79 "A particularly attractive feature of the Companion is the inclusion of rare colour and black and white images of book covers, book excerpts, feature film and animation stills. The volume has detailed footnotes, an extensive bibliography and a good index. This Companion makes for engaging and inspiring reading; it would benefit Russian scholars and students, as well as a general audience seeking to expand their knowledge of the complex impact that Soviet children’s literature and film had on the nation and its citizens." Natallia Kabiak, University of Melbourne, in Australian Slavonic and East European Studies, volume 34. “The reader should prepare himself for a fascinating collection of brilliant, thought-provoking essays. This book shows how far scholarly work on children´s culture and childhood in Slavic studies has come in the last few decades and provides insights into an impressive and flourishing field of research [...] This book is a major accomplishment that offers valuable insights into the complex ways in which childhood and children’s culture were dealt with in the Soviet Union. It deserves many readers and will certainly spark further discussions and inspire new ideas.“ Martina Winkler, Kiel University (Christian-Albrechts-Universität) in Jahrbücher für Geschichte Osteuropas, volume 10.Table of ContentsContents Acknowledgements Figures Notes on Contributors Introduction: ''The Only Universal National Text'': On the Centennial of Soviet Children's Literature and Film Olga Voronina Forging a New Children's Culture: (R)evolution, Poetics, Aesthetics 1 Unnatural Selection: A Natural History of Early Soviet Picturebooks Sara Pankenier Weld 2 The Junctures of Child Psychology and Soviet Avant-Garde Film: Representations, Influences, Applications Ana Hedberg Olenina 3 The Dictionary as a Toy Collection: Interactions between Avant-Garde Aesthetics and Soviet Children's Literature Ainsley Morse 4 The Literary Avant-Garde and Soviet Literature for Children: OBERIU in the Leningrad Periodicals Еж and Чиж Oleg Minin Constructing Socialism, Building the Self: History, Ideology, Narrative 5 Re-Imagining the Past for Future Generations: History as Fiction in Soviet Children's Literature Marina Balina 6 Education of the Soul, Bolshevik Style: Pedagogy in Soviet Children's Literature from the 1920s to the early 1930s Olga Voronina 7 ''Be Always Ready!'': Hero Narratives in Soviet Children's Literature Svetlana Maslinskaya 8 Unspeakable Truths: Children of the Siege in Soviet Literature Tatiana Voronina and Polina Barskova New Approaches to the Avant-Garde: Reconstructing the Canon 9 Children's Poetry and Translation in the Soviet Era: Strategies of Rewriting, Transformation and Adaptation Maria Khotimsky 10 Under the Hypnosis of Disney: Ivan Ivanov-Vano and Soviet Animation for Children Lora Wheeler Mjolsness 11 Embracing Eccentricity: Золушка and the Avant-Garde Imagination Larissa Rudova 12 The Queer Legacies of Late Socialism, or What Cheburashka and Gary Shteyngart Have in Common Anna Fishzon Bibliography Index

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Book SynopsisIn Fragile Images: Jews and Art in Yugoslavia, 1918-1945, Mirjam Rajner traces the lives and creativity of seven artists of Jewish origin. The artists - Moša Pijade, Daniel Kabiljo, Adolf Weiller, Bora Baruh, Daniel Ozmo, Ivan Rein and Johanna Lutzer - were characterized by multiple and changeable identities: nationalist and universalist, Zionist and Sephardic, communist and cosmopolitan. These fluctuating identities found expression in their art, as did their wartime fate as refugees, camp inmates, partisans and survivors. A wealth of newly-discovered images, diaries and letters highlight this little-known aspect of Jewish life and art in Yugoslavia, illuminating a turbulent era that included integration into a newly-founded country, the catastrophe of the Holocaust, and renewal in its aftermath.Table of ContentsAcknowledgments  xi List of Illustrations Note on Personal Names Introduction Part 1: In Search of an Identity: Sephardic, Zionist, Yugoslav Introduction to Part 1 1 From Dorćol to Paris and Back: Moša Pijade’s Self-Portraits  1 Coming of Age in Belgrade  2 Fin-de-siècle Munich  3 The Bohemian Paris  4 Pijade’s Self-Portraits: In Search of an Identity 2 Sarajevo’s Multiculturalism: Daniel Kabiljo’s Sephardic Types  1 Between East and West  2 Bosnian Artist or Yugoslav Zionist?  3 Choosing Sides  4 Kabiljo’s Sephardic Types 3 A Croatian Zionist: Adolf Weiller between the East European Shtetl and the Lure of Nature  1 Becoming a “Jewish Artist”  2 The Lure of Nature Part 2: From Avant-Garde to Political Activism Introduction to Part 2 4 Bora Baruh’s Refugees  1 “Four Mahaneh Portraits”  2 The Early Works  3 Paris: A Painter and a Revolutionary  4 Painting Refugees  5 Two Directions: The “Art for Art’s Sake” and the Socially Engaged Art 5 Ivan Rein’s Paris: From the Quartier Latin to Camp Vernet  1 Growing Up in an Affluent and Acculturated Jewish-Catholic Family  2 The Croatian School of Painting  3 Rein’s Paris  4 Social Awareness and Political Protest  5 Letters to Cuca: On Being Jewish, Yugoslav, and Universal on the Eve of WWII 6 The Ethnic and Universal Avante-Garde: Daniel Ozmo’s Linocuts  1 A Bosnian Sephardic Artist in Belgrade  2 Discussing “Jewish Art” in the 1930’s: Between Racial Traits and Human Values  3 Social Content and Expressionist Form  4 Sarajevo’s Avant-Garde: Collegium Artisticum Part 3: “We Artists Have to Paint”: Art Created during the War and the Holocaust Introduction to Part 3 7 Bora Baruh in Occupied Belgrade: Images of Jewish and Christian Mourning  1 Bombing of Belgrade and Persecution of the Jews  2 Painting Portraits  3 Refugees on Ruins 8 Art in Jasenovac: Daniel Ozmo and the Artists of the Ceramic Workshop  1 The Destruction of Sarajevo’s Jewish Community and Daniel Ozmo’s Arrest  2 The Jasenovac Camp and the Ceramic Workshop  3 Ozmo’s Depictions of Forced Labor  4 Slavko Bril  5 Portraits and Landscapes  6 Ozmo’s End 9 Refugee and Artist: Ivan Rein, Johanna Lutzer, and Jewish Cultural Life in Kraljevica  1 Escaping to the Adriatic Coast  2 Being a Refugee in Kraljevica  3 Ivan Rein’s Refugee Art  4 The Kraljevica—Porto Re Camp  5 Ivan Rein’s Drawings Created in the Kraljevica Camp  6 Johanna Lutzer: A Jewish Artist from Vienna 10 The Rab Island Camp: From Internment to Freedom Part 4: Producing Art for Partisans: Creativity between Ideology and Survival Introduction to Part 4 11 Bora Baruh as a Partisan, 1941–1942 12 Johanna Lutzer: Jewish Refugees with the Partisans in Croatia 13 Postscript: Jewish Artists as National Heroes, Victims of Fascism, and Holocaust Survivors Conclusion Bibliography Index

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Book SynopsisWhat role did cinema play in the Chinese Communist Party’s political project of shaping ideal socialist citizens in the early People’s Republic? In Moulding the Socialist Subject, Xiaoning Lu deploys case studies from popular film genres, movie star culture and rural film exhibition practices to argue that Chinese cinema in 1949–1966, at once an important political instrument, an enjoyable yet instructive form of entertainment, and a specific manifestation of the socialist society of the spectacle, was an everyday site where the moulding of the new socialist person unfolded. While painting a broad picture of Chinese socialist cinema, Lu credits the human agency of film professionals, whose self-reflexivity and individual adaptability played an intrinsic role in the Party’s political project.Trade Review"Moulding the Socialist Subject by Xiaoning Lu is a concise yet insightful book. It addresses the instrumental role of cinema in textual form and as a state apparatus in ‘remoulding’ (改造, pp. 5 and 165) socialist subjectivity, as well as the intersection and interaction of cinema with other key discourses such as sport, ethnicity, theatre, melodrama, spectatorship/reception, and the urban/rural dichotomy. [...] Moulding the Socialist Subject is a welcome addition for students who love diverse movies, the general public eager to understand the ‘structure of feeling’ prevalent in a socialist regime, and scholars of China studies." -Lunpeng Ma, Communication University of Zhejiang, in China information, Vol 35 (2021), pp. 113-114 "The book provides clearly written and engagingly illustrated pathways to understand the underlying histo-ries of contemporary conundrums" -Stephanie Donald, Monash University Malaysia, in The China Journal , No. 86, July 2021, pp. 208-210Table of ContentsAcknowledgements Figures Introduction  1 The Socialist Subject for a New China (1949–1966)  2 Cinema within a Socialist Society of Spectacle 1 Terror and Mass Surveillance: the Counterespionage Film  1 The Counterespionage Film and Political Campaigns against Counterrevolutionaries  2 Cinematic Articulation of Mass Surveillance: The Might of the People 2 The New Physical Culture and Volatile Attractions: the Sports Film  1 The New Physical Culture  2 Promoting Workers’ Sport and Heterogeneous Laughter: Trouble on the Basketball Court and Big Li, Young Li and Old Li  3 Sports, Ethics, and Melodramatic Imagination: Woman Basketball Player No. 5 and Ice-Skating Sisters 3 Ethnicity and Socialist Fraternity: the National Minority Film  1 Reconfiguring the Ethnic Landscape: From Ethnicity to Nationality  2 The National Minority Film  3 Flames of War in a Border Village: Cross-Ethnic Performance and the Politics of Recognition  4 Daji and Her Fathers from Page to Screen: Typifying Ethnic Fraternity in Socialist China 4 Modeling the Model: Red Stardom  1 Problematizing “the Star”  2 Star Image  3 The Stanislavski System and Modeling the Red Star 5 The Cultural Politics of Affect: Villain Stardom  1 Negative Characters, Performance Context, and Production of Affect  2 Villain Performance as Negative Pedagogy 6 Mobile Attraction: Itinerant Film Projectionists and Rural Cinema Exhibition  1 Itinerant Film Projection: a New Attraction in Rural China  2 Rural Film Exhibition: Problems and Challenges  3 Film Projectionists and Their Machines  4 Film Projectionists and Their Exhibition Practices Conclusion Bibliography Filmography Index

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Book SynopsisThis critical overview of the field of film and religion distinguishes three complementary approaches: the study of film as text, the investigation of how film affect audiencs, and the consideration of film and religion as agents in cultural processes. The overview concludes with a reflection on theories and methodologies of the field and some possibilities for future development.Table of ContentsContents Religion and Film: Representation, Experience, Meaning  Stefanie Knauss Abstract Keywords  Introduction  1 Representations of Religion(s) in Film: The Study of Film as Text  2 Religious Films: It’s in the Eyes of the Beholder  3 The Quest for Meaning: Religion and Film as Agents in Cultural Processes  4 Why and How Do We Do What We Do? The Question of Theory and Method  Conclusion and New Horizons  Filmography  Bibliography

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Book SynopsisIn what is often considered ‘a society “after God”’, millions of Dutch participate annually in a public multi-media performance of Christ's Passion. What to make of this paradox? In Playing On: Re-staging the Passion after the Death of God, Mirella Klomp offers a theological analysis of this performance and those involved in it. Working in an interdisciplinary fashion and utilizing creative interludes, she demonstrates how precisely this production of Jesus' last hours carves out a new and unexpected space for God in a (post-)secular culture. Klomp argues compellingly that understanding God's presence in the Western world requires looking beyond the church and at the public domain; that is the future of practical theology. She lays out this agenda for practical theology by showing how the Dutch playfully rediscover Christian tradition, and – perhaps – even God.Table of ContentsContents Preface List of Charts, Figures and Tables Prologue Setting the Stage 1 The Play: A Popular Passion in the Public Sphere 2 The Scenery: Dwellings in a Sacro-Soundscape 3 The Re-Appearance of God: Ana-Liturgy Cross-Fading Perspectives on the Play 4 Claiming Sacred Ground: A Spatial Practice Side Light: Locus Iste. A Meditation 5 Playing with the Sacred: A Ludic Practice Side Light: @deusludens. A Twitter Thread 6 Dealing with Society’s Secular Self-Understanding: A Reflexive Practice Side Light: Reflections in a Mirror. A Meditative Exegesis 7 Staging the Resurrection: A Public Theological Practice Side Light: What Is This All About? A Letter Full Up Finish 8 Playing on: Practical Theology after the Death of God Appendix 1: Research Methodology Appendix 2: Tables Bibliography Index Permissions

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Book SynopsisReligious Narratives in Contemporary Culture: Between Cultural Memory and Transmediality analyses the meaning and role of religion in western cultural practices in the twenty-first century. This inquiry situates itself at the intersection between cultural memory studies and the transmedial study of narrative and art. Contributors focus on genres which have yet to receive significant critical attention within the field, including speculative fiction films and television series, autobiographical prose and poetry, and action-adventure video games. In this time of crisis, where traces of religious thinking still persist in the presence or absence of religious faith, this volume’s collective look into some of their cultural embodiments is necessary and timely. The volume is addressed primarily to scholars and students interested in intersections between religious and cultural studies, revisions of traditional religious narratives, literature as a space of reflection on today's world, contemporary media studies and remediation. Maria-Sabina Draga Alexandru's editing work in the last stages of this volume was supported by a grant of the Romanian Ministry of Education and Research, CNCS – UEFISCDI, project number PN-III-P3-3.6-H2020-0035.Table of ContentsList of Figures Notes on Contributors Introduction   Maria-Sabina Draga Alexandru and Dragoș Manea PART 1 Negotiations between the Spiritual and the Secular 1 Going Boldly Where Few Have Gone Before  Science, Religion and Life-Writing in the Poetry of Elizabeth Bishop and Tracy K. Smith   Marcel Inhoff 2 Roman Catholic Religion and Folk Religiosity in the Fiction of Contemporary American Writers of Polish Descent  An Analysis of Selected Works by Stuart Dybek   Sonia Caputa 3 “A Secular Mind Searching for Its Lost Love”  Mourning, Religion, and the Return of the Dead in Meghan O’Rourke’s The Long Goodbye   Mihaela Precup PART 2 Oppression and Resistance 4 Cultural Memory and Political Resistance through Religious/Spiritual Art in (Post-) Communist Romania   Maria-Alina Asavei 5 The Rhetoric of the Body of Christ and the Pitfalls of American Democracy   Olga V. Solovieva 6 Evil Nuns and Useless Priests  On the Representation of Christianity in Contemporary Historical Fantasy Television Series   Dragoș Manea PART 3 Transmedial Religious Narratives in Unreal and Posthuman Worlds 7 Algorithms of Desire  Dukkha in the Machine   Anthony Miccoli 8 How to Fight Historical Violence  Posthuman Spirituality in Cloud Atlas   Maria-Sabina Draga Alexandru 9 Can Artificial Humans Go to Heaven? Transhumanist Salvation in Shelley’s Frankenstein and the Hitman Series   Andrei Nae  Conclusion   Maria-Sabina Draga Alexandru and Dragoș Manea Bibliography Index

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Book SynopsisBlack Neo-Victoriana is the first book-length study on contemporary re-imaginations of Blackness in the long nineteenth century. Located at the intersections of postcolonial studies, Black studies, and neo-Victorian criticism, this interdisciplinary collection engages with the global trend to reimagine and rewrite Black Victorian subjectivities that have been continually marginalised in both historical and cultural discourses. Contributions cover a range of media, from novels and drama to film, television and material culture, and draw upon cultural formations such as Black fandom, Black dandyism, or steamfunk. The book evidences how neo-Victorian studies benefits from reading re-imaginations of the long nineteenth century vis-à-vis Black epistemologies, which unhinge neo-Victorianism’s dominant spatial and temporal axes and reroute them to conceive of the (neo-)Victorian through Blackness.

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Book SynopsisCet ouvrage réunit plusieurs chercheurs et praticiens du cinéma autour de l’étude des représentations de la peau à l’écran, dans leur double dimension formelle et signifiante, à travers seize contributions portant sur diverses traditions cinématographiques, époques et aires géographiques/culturelles. This book is a collection of sixteen articles by researchers and cinema professionals about various cinematographic traditions, periods, and geographical/cultural areas to study the representations of skin on screen, in both their formal and signifying dimensions.Table of ContentsTable des matières Prologue : le précipice de la nudité Remerciements Liste des Figures Introduction  Diane Bracco Partie 1: Poétiques de la peau 1 La page et la peau au pays des signes : The Pillow Book de Peter Greenaway  Bertrand Westphal 2 Vêtir, maquiller, frotter la peau : le miracle cutané dans les films de João Pedro Rodrigues  Fabien Meynier 3 La peau filmée et la chair du film : la puissance mystique des gestes filmiques dans L’Homme qui a surpris tout le monde (2018) de Natalia Merkoulova et Alexeï Tchoupov  Macha Ovtchinnikova 4 Cyril Collard, l’écorché vif  Éloïse Delsart 5 De la peau douce à la carne  Marianne Pistone partie 2: Peaux et identités 6 Memento ou la mémoire défaillante dans la peau  Louis Daubresse 7 L’écriture de la peau dans Memento (Christopher Nolan, 2000) : du mutisme du corps tatoué à son devenir image  Isabelle Labrouillère 8 Dans la peau de l’homme moderne : Le Visage d’un autre (Hiroshi Teshigahara, 1966)  Andrea Grunert 9 Les Yeux sans visage (Georges Franju, 1959) : tissu facial, voile et configuration du moi  Pedro Poyato 10 La peau comme lieu de (re)construction identitaire dans le cinéma de Pedro Almodóvar  Audrey Higelin 11 La caméra à fleur de peau : Pieles ou l’esthétique épidermique d’Eduardo Casanova  Diane Bracco partie 3: Filmer la peau : enjeux techniques et socioculturels 12 Artifices et techniques au service de l’acteur de cinéma : la mise en lumière de la peau (1900 à 1940)  Sylvie Roques 13 Villain ou victime ? Carnation et stigma dans le period drama britannique (Les Hauts de Hurlevent d’Andrea Arnold, 2011)  Jessy Neau 14 Le Cinema Novo et les visages du Brésil. Exposition de la peau et figurations du peuple dans Sécheresse (1963) et Terre en transe (1967)  Nicolas Piedade 15 Bâtir un imaginaire épidermique dans le cinéma centre-américain  Entretien avec Aiko Sato et Nicolás Wong Díaz 16 La peau comme matière filmique : réalisme et sensualité  Entretien avec Luis Armando Arteaga, directeur de la photographie Conclusion Index

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