Films, cinema Books

Book SynopsisSerial killers are popular-culture icons, selling books, movies and podcasts in every country in the world. This innovative and timely book uses methods in Media and Cultural Studies to analyse why global audiences are mesmerised by representations of serial killing. Unique in its transnational case studies, it addresses serial murder through a new perspective of the “serial spectator.”   Trade Review"Brill's dynamic peer-reviewed series Textxet: Studies in Comparative Literature has since the mid-1990s been publishing monographs and edited collections on a range of subfields within the capacious field of comparative literature. The nearly 100 scholarly monographs published as part of Textxet engage rigorously with theories of literature, world literature, and literature and thought from around the globe, frequently from interdisciplinary and transdisciplinary perspectives. Soon to be fully digitized and accessible, Textxet has contributed significantly to the study of comparative literature, broadly conceived, in Europe and North America, and to literature studies more broadly, particularly in the discipline's many emerging subfields. Publishing the work of both established scholars and recent Ph.D.'s, Textxet gives scholars of all generations a platform for sharing their best work, and inspiring vigorous scholarly conversations" --Karen Thornber, Harvard University, USA, author of Global Healing: Literature, Advocacy, Care(2020)Table of ContentsNotes on Contributors Introduction: The Spectacle of Serial Violence in Global Literature and Media Part 1 Seriality of Violence 1 Abattoir Elegantiarum: Fashion Victimology and Hannibal’s Grand Designs  Seth Wilder 2 Eat, Sleep, Read, Repeat: Excess and Enjoyment in Tomie  Shweta Khilnani 3 Caught in Observation: Sublime tableaux morts in Female Serial Killer Narratives  Natalia Igl Part 2 Moral Panics and Murderous Sublime 4 “The Horror in Whitechapel”: Sensational Journalism in the Jack the Ripper Murders  Chen F. Michaeli 5 (Wo)Mens Rea: The Strange Case of Anne Perry and Murder of/for/by Women  Anhiti Patnaik 6 A Poetics of Restlessness: The House That Jack Built and the Conventions of Serial Killer Fiction  Luciano Cabral and Pedro Sasse Part 3 Transnational Evil of Banality 7 Murder and Meaning: The Ordinariness of Violence in Memories of Murder  Reza Pourmikail 8 Lurid and Unlimited: Interpreting Bateman’s Banality in American Psycho  Patrick Lawrence 9 The Digital Banal and Sublime Justice in Chinese Internet Literature  Lina Qu Part 4 Spacetime of Violence 10 “Blood on the Snow”: Nordic Noir as a Fantasy Travelog  Elana Gomel 11 “Le immagini ti guardano”: The Gallery City in the Giallo Genre of Italian Cinema  Peter Vorissis 12 Santusthi and Jodidar through Serial Killing in Raman Raghav 2.0  Aratrika Das Conclusion: Healing through Horror in a Pandemic—The Editors in Dialogue  Anhiti Patnaik and Elana Gomel

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Book SynopsisFilm festivals around the world are in the business of making experiences for audiences, elites, industry, professionals, and even future cultural workers. Cinema and the Festivalization of Capitalism explains why these non-profit organizations work as they do: by attracting people who work for free, while appealing to businesses and policymakers as a cheap means to illuminate the creative city and draw attention to film art. Ann Vogel’s unprecedented systematic sociological analysis thus provides firm evidence for the ‘festival effect’, which situates the festival as a key intermediary in cinema value chains, yet also demonstrates the impact of such event culture on cultural workers’ lives. By probing the various resources and institutional pillars ensuring that the festivalization of capitalism is here to stay, Vogel urges us to think critically about publicly displayed benevolence in the context of cinema—and beyond.Table of ContentsAcknowledgments List of Figures and Tables Introduction Film Festivals, Introducing a Global Population Part 1 Affordances 1 Film Festivals and Festivalization 2 The Experience-Maker 3 Alternative Exhibition Part 2 Devices 4 Mimetic Adoption and Social Capital 5 Festival Devices 6 Examining the Festival Effect Part 3 Justifications 7 Film Festival as Charismatic Organization 8 Spreading the Risk: Film Festival Work and Creative Labor Strategies 9 Institutional Supports for Festival Volunteering 10 The Calling of Unpaid Labor Part 4 Adjustments 11 Affect, Event, and Social Order 12 A Postmodern Grants Economics: Elites, Excess, and Cultural Diversity 13 Activation, or the Eclipse of the Civic Polis  Toward Social Activism, a Conclusion  Appendix: Methodological Supplement for Chapter 6  Bibliography  index

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Book SynopsisOften identified as one of the most genuine and enduring American film genres, the road movie has never been explored in the context of experimental filmmaking. To fill this gap, Lost Highways, Embodied Travels provides the first book-length study of over eighty unique and often obscure films and videos and situates them within the corporeal turn in American avant-garde cinema, so far mostly associated with body genres and sexually explicit films. Drawing on unpublished archival materials, the book offers a fresh take on both past and current practices of the experimental film community for scholars, students, makers and film buffs.Table of ContentsAcknowledgements List of Illustrations Introduction  1 Lost Highways, Embodied Travels: The Structure of This Book 1 The Road Movie and the Corporeal Turn in Experimental Film  1 The Road Movie as a Mainstream Film Genre  2 The Road Movie as an Experimental Film Genre  3 The Corporeal Turn in Experimental Film  4 The Road Movie and the Corporeal Turn in Experimental Film 2 Embodied Travels  1 Cars and the Body  2 “I Like to Remember Things My Own Way”: Saul Levine’s Mortgage on My Body  3 Life Shooting and a Road Movie-Therapy-Performance: Anne Charlotte Robertson’s Niagara Falls  4 Intuitive Travels: Gary Adlestein’s S-8 Diary: Wildwood 2/88  5 Unmediated Encounters with the World: Dana Play’s Kongostraat  6 Motorcycles and the Body  7 Fading Memories of a Honeymoon Trip: Brian Patrick’s Honey/Moon  8 “Gotta Get Outta Here”: Charlemagne Palestine’s Island Song  9 Cars and Relationships  10 Intimacy That Never Is: Sophie Calle’s No Sex Last Night  11 Depopulated Highways, Empty Hotel Rooms, and Unfulfilled Intimacy: Donald Winkler’s Travel Log  12 Female Bodies, Automobiles, and a Failed Lesbian Relationship: Su Friedrich’s Rules of the Road  13 Two Female Hitchhikers, an Escapist Driver and a Sexual Awakening: Siouxzi Mernagh’s Exit  14 Break Ups, Reminiscences, and Ghosts of the Past: Walter Ungerer’s Down the Road  15 The Ups and Downs of Female Solitary Travel: Jessica Bardsley’s Goodbye Thelma  16 Romance in the Digital Age: Michael Robinson’s Onward Lossless Follows  17 Conclusion 3 Americana, Canadiana, Native Americans, and Eco-Road Movies  1 Americana  2 A Testimony to Chance Encounters: Chris Mullington’s Americans (Mer-Kins)  3 The End of the American Dream: Chip Lord’s Motorist  4 A Country of Contradictions: Lluis Escartín’s 75 Drive-a-Way  5 A Disturbing Portrait of America: James Benning’s North on Evers  6 In Search of American Counterculture: James Benning’s Easy Rider  7 A Nostalgic Evocation of the Frontier: Bill Brown’s XCTRY  8 Canadiana  9 A Dead-End Trip: Philip Hoffman’s The Road Ended at the Beach  10 Roads Where Nothing Ever Happens: Clive Holden’s Bus North to Thompson with Les at the Wheel  11 The History of Canadian Roads Told … Backwards: Michael Snow’s Seated Figures  12 Native Americans  13 “The Dream of America That Never Came True”: Bruce Baillie’s Mass for the Dakota Sioux and Quixote  14 A Poignant Ode to the Ho-Chunk People and Their Language: Sky Hopinka’s Jáaji Approx.  15 Eco-Road Movies  16 An Ascetic Roughness of Land and Nature: Nancy Holt and Robert Smithson’s Mono Lake  17 A Nervous Pean to the New Zealand landscape: Lissa Mitchell’s Bowl Me Over  18 A “Trans-Corporeal” Experience of Rural Ireland: Julie Murray’s Orchard  19 An Ominous Terror of Ecocide, Or the Doomsday that Never Was: Fern Silva’s Tender Feet  20 Conclusion 4 Lost Highways  1 Interstate Highways  2 The Thrill of the Open Road: Hilary Harris’ Highway  3 The Magic of Road Building: Anna Geyer’s Dozer  4 American Freeway, Private Prisons, and the Dark Side of Automobility: James Schneider’s Median Strip  5 The Crisis of Automobility: Emma Piper-Burket’s Driving Dinosaurs  6 Highway Landscapes and Local Roads  7 A Silent Spectacle of Death: J. J. Murphy’s Highway Landscape  8 Countryside Highways and the Suspension of Movement: James Benning’s Small Roads  9 An Australian Rural Dirt Road in 360: Blake Williams’ Coorow-Latham Road  10 Conclusion 5 Through the Windshield  1 Framed Views  2 The Paradoxes of Movement: Gary Beydler’s Pasadena Freeway Stills  3 Multiple Views of a Seashore Landscape: Ken Kobland’s Frame  4 Across America in Suspended Motion: Ken Kobland’s Landscape and Desire  5 Driving Meditation: Al Wong’s Twin Peaks  6 Windshield Views  7 The Icelandic Highway and the Sensation of Velocity: Þór Friðriksson’s Hringurinn  8 A Roller-Coaster Ride Down the Trans-Canada Highway: Stephen Arthur’s Tran Scan  9 A Full-Body Immersion in the Western Canadian Landscape: Stephen Arthur’s Vision Point  10 Driving on a Rainy Day  11 Driving in a Thunderstorm and Female Mobility: Faith Arazi and Madeleine Mori’s Through a Field  12 A Mesmerizing Movement of Raindrops on the Car Windows: Ann Deborah Levy’s Rain Painting  13 The Wiper’s Swing and an Erratic Ride on a Vancouver City Bus: Chris Gallagher’s Seeing in the Rain  14 Squirming Raindrops and a Bleak View of the Frontier: Bruce and Lorie Baillie’s Commute  15 Car Crashes  16 From Violent Death to Creative Transformation: Robert Nelson’s Hot Leatherette  17 A Crash into the Driver-Car’s Mind: Eric Patrick’s Stark Film  18 A Near Deadly Crash and the Afro-American Experience: Paige Taul’s The Promise  19 The Tourist Gaze  20 A Flashy World of Clichés and Hasty Sight-Seeing: Barbara Hammer’s Tourist  21 The Hustle and Bustle of Being on the Move and Haptic Aurality: Christina Battle’s Traveling thru with Eyes Closed Tight (Map #2–January 03 thru January 06)  22 Conclusion 6 Through the Side Window  1 Fleeting Impressions of Canada: Joyce Wieland’s Reason Over Passion  2 Culture Clash and Embodied Memories of Vietnam: Lynne Sachs’ Which Way Is East: Notebooks from Vietnam  3 Scattered Recollections of a Family Vacation: Michael Stickrod’s Vacation Tapes  4 Driving and Landscape Painting  5 Impressionist Views of the Country Barn: Larry Gottheim’s Barn Rushes  6 The Color Field Painting on Interstate 5: Martha Rosler’s Flower Fields  7 Still Lifes of the Swedish Rural Countryside: Gunvor Nelson’s Light Years  8 A Cathartic Road Trip and Impossible Panoramic Vistas of the American Southwest: Peter Rose’s The Geosophist’s Tears  9 Driving in the Desert  10 Seeing with a Filmmaker’s Eyes: Stan Brakhage’s Visions in Meditation #2: Mesa Verde  11 A Spiritual Encounter with the Divine: Jon Behrens’ Desert Abstractions  12 The Uncanny Desert Glare: Cathy Lee Crane’s On the Line  13 An Apocalyptic Mediation on the American Wilderness: Kate McCabe’s You and I Remain  14 “The Intense Reality of Desert” and the Juju Charms: Apostoly Peter Kouroumalis’s Desert Road  15 City Driving  16 Flows, Rhythms and Textures of New York City: Marie Menken’s Go! Go! Go!  17 The Whirling Streets of New York City: Bill Morrison’s City Walk  18 Glimpses into the Streets of San Francisco’s Latino Mission: Martha Rosler’s Secrets from the Street: No Disclosure  19 Inside the Driver-Car’s Mind: Steven Woloshen’s Shimmer Box Drive and Zero Visibility  20 An Exquisite Road Trip Across Four Continents: EXcinema’s The Spaces Between Cities  21 Driving at Night  22 A Vibrant Light Show of Chicago’s Nightlife: Mort and Millie Goldsholl’s Night Driving  23 A Hypnotizing Collage of Seattle’s Nocturnal Lighting: Jon Behrens’ The Movement of Light at Night  24 A Head-On Confrontation with the Speeding Highway: Bill Morrison’s Night Highway  25 A Sinister Night Drive and a Mysterious Owl: Michaela Grill’s Carte Noire  26 Conclusion 7 Inside Cars  1 Mirrors, Windows, and (Movie) Screens  2 A Haunting Ride to a New Orleans Cemetery and Back: Bill Morrison’s Ghost Trip  3 An Eerie Venture into the Cockpit and the Driver’s Mind: Jon Behrens’ The Colors of Boulder in the Summer  4 By the Side Window  5 A Cinematic Gaze, Automotive Visuality, and Blues Improvisation: Larry Gottheim’s Harmonica  6 A Claustrophobic Car Interior … After Dark: Saul Levine’s Driven  7 From the Back Seat  8 An Eventless Drive Around Downtown Manhattan … Over and Over Again: Alfred Leslie and the Frank O’Hara’s The Last Clean Shirt  9 An Aimless Journey across the Country: James Benning’s The United States of America  10 A Perception-Altering Tour of Canada and the United States: Chris Gallagher’s Undivided Attention  11 Backseat Passengering  12 A Bumpy Ride and the Impossible Sublime: Lluis Escartín’s Mohave Cruising  13 Cross-Eyed Viewing of the Bay Bridge: Ken Jacobs’ Berkeley to San Francisco  14 Conclusion Conclusion Filmography References

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Book SynopsisAn important task for scholars of cultural studies and the humanities, as well as for artistic creators, is to refigure the frames and concepts by which the world as we know it is kept in place. Without these acts of refiguration, the future could only ever be more of the (violent) same. In close dialogue with literary and cinematic works and practices, the essays of this volume help refigure and rethink such pressing contemporary issues as migration, inequality, racism, post-coloniality, political violence and human-animal relations. A range of fresh perspectives are introduced, amounting to a call for intellectuals to remain critically engaged with the social and planetary.Trade Review"I started reading the Cross/Cultures series in my PhD days and have never stopped. Some of postcolonial studies’ most talented established and emerging scholars have published their research here. The series has also staged some of the liveliest intellectual debates in the field. Long may its work continue!" - Claire Chambers, University of York "Active since 1990, Cross/Cultures is a cutting-edge book series covering the whole range of the colonial and post-colonial experience across the English-speaking world as well as the literatures and cultures of non-anglophone countries. The series accommodates both studies by single authors and edited critical collections.” - Bénédicte Ledent, Université de Liège and Delphine Munos, Université de Liège "Marking the rapid expansion of colonial and postcolonial studies over the past three decades, Cross/Cultures has the reputation for high quality research into the dynamics of anglophone cultural production world-wide. With its outstanding publication record, this vibrant series is indispensable for all scholars working in the field." - Janet M. Wilson, University of NorthamptonTable of ContentsForeword Acknowledgments Notes on Contributors Introduction   Amanda Minervini, Amelie Björck, Omri Grinberg and Amrita Ghosh Part 1 Films as Sites of Transformation 1 Migratory Aesthetics Proximity and Mutuality   Mieke Bal 2 Inequality and Contemporary World Cinema   Andreas Jacobsson 3 Haider Rewriting Shakespearean Ghosts into Postcolonial Specters in Kashmir   Amrita Ghosh Part 2 On Ethical Readings and Subversions 4 Reading as Imaginative Resistance Negotiating the Censor in J.M. Coetzee’s In the Heart of the Country   Sunayani Bhattacharya 5 Reader as Witness Rethinking Perpetrators of Political Violence through Contemporary Literature   Cassandra Falke Part 3 Planetary Connections Human and the Animal 6 Decolonizing Animals A Surface Reading of Wisława Szymborska’s Poem “Bruegel’s Two Monkeys”   Amelie Björck 7 Globalization and Critical Animal Studies   Dominick LaCapra   Coda It’s Time to Go Outside: A Dialogue with Dominick LaCapra   Amanda Minervini Index

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Book SynopsisThe works and biography of Heinrich von Kleist have fascinated authors, artists, and philosophers for centuries, and his enduring relevance is evident in the emblematic role he has played for generations. Kleist’s prose works remain “utterly unique” seventy years after Thomas Mann described their singular appeal, his dramas remain “disturbingly current” four decades after E.L. Doctorow characterized their modernity, and twenty-first century readers need not read far before finding the unresolved questions of the current century in Kleist. Heinrich von Kleist: Artistic and Aesthetic Legacies explores examples of Kleist’s impact on artistic creations and aesthetic theory spanning over two centuries of seismic metaphysical crises and nightmare scenarios from Europe to Mexico to Japan to manifestations of the American Dream.Table of ContentsForeword: Interrogating Kleist? Acknowledgments Notes on Contributors Introduction: The Artistic and Aesthetic Legacies of Heinrich von Kleist  Jeffrey L. High and Carrie Collenberg-González Kleist and Hegel’s Phenomenology of Spirit  Valerio Rocco Lozano Operatic Reception of Kleist’s Das Käthchen von Heilbronn: From Holbein’s Stage Adaptation to the Operas of Hoven, Lux, and Reinthaler  Glen Gray Stranger than Fiction: Thomas Mann and Stefan Zweig on Goethe, Kleist, and the Struggle with the Daemon  Elaine Chen Brecht, Kleist, and the Early GDR: The Berliner Ensemble’s Playbill for Der zerbrochne Krug (1952) and Its Renegotiation of Formalism, Realism, and Cultural Heritage  Markus Wessendorf Penthesilea and Her Sisters: Visualizing the Feminine in the German Cultural Imagination of the 1970s and 1980s  Seán Allan Victories of Insurrection: Heinrich von Kleist, Aleksandr Bek, and Heiner Müller  Wolf Kittler Coetzee and Kafka with Kleist (and Job): Debating the ‘Kohlhaasian Solution’  Tim Mehigan Film Adaptations of Kleist’s Michael Kohlhaas: On Triage, Recasting, and Restructuring  Sophia Clark and Jeffrey L. High An Earthquake in Chile in Mexico: Juan Villoro on Kleist  Craig Epplin The Vanishing Point: Heinrich von Kleist, Frank Stella, and the American Dream  Carrie Collenberg-González Righteous Rebels: Kleist’s Michael Kohlhaas and Andrei Zvyagintsev’s Leviathan  Cassio de Oliveira Kleist in Yoko Tawada’s Works  Susan C. Anderson Index of Names Index of Kleist’s Works

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Book SynopsisThis book looks at a sector of black and Asian British film and television as it presented itself in the 1990s and early 2000s. For this period, a ‘mainstreaming’ of black and Asian British film has been observed in criticism and theory and articulated by an increasing number of practitioners themselves, referring to changing modes of production, distribution and reception and implying a more popular and commercial orientation of certain media products. This idea is a leitmotif for the authors’ readings of recent films and examples of television drama, including such diverse products as Young Soul Rebels and Babymother, East Is East and Bend It Like Beckham, The Buddha of Suburbia and White Teeth. These analyses are supplemented with a look at earlier landmark productions (like Pressure) as well as relevant social, institutional and aesthetic frameworks. The book closes with a selection of statements by black and Asian media practitioners who operate from within Britain’s cultural industries: Mike Phillips, Horace Ové, Julian Henriques, Parminder Vir and Gurinder Chadha.Trade Review”…a knowledgeable and useful account of contemporary British Cinema Studies…” in: Anglia, Band 123, Heft 3, 2005Table of ContentsIntroduction CLAIMING STRUCTURES, BIDDING FOR THE MAINSTREAM Chapter 1 Black and Asian Britain and the Cultural Mainstream Chapter 2 Be Ourselves and Be Mainstream? ‘Black’ British Film Revisited Chapter 3 ‘Landmarks’: The Evolution of Black and Asian Narrative Film in Britain from the 1960s to the 1980s CASE STUDIES Chapter 4 Black Youth Films in the 1990s Chapter 5 Asian British Film since the 1990s Chapter 6 1990s Television Drama: Mainscreening Black and Asian British History Conclusion VOICES Mike PHILLIPS: Art, the Myth of Black Culture and the Struggle for British Identity Horace OVÉ: Belmont Olympic Julian HENRIQUES: Reggae Sound Systems, the Body and Film-Making Practices Parminder Vir in Interview Gurinder Chadha in Interview Bibliography Index

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Book SynopsisAllegories of Telling: Self-Referential Narrative in Contemporary British Fiction has as its founding premise Ross Chambers’s notion that “one of the important powers of fiction is its power to theorize the act of storytelling in and through the act of storytelling.” In this critical study, Lynn Wells presents detailed readings of novels by five prominent British authors – John Fowles, Angela Carter, Graham Swift, A.S. Byatt and Salman Rushdie – with an emphasis on how the texts' self-referential aspects illuminate the acts of reading and writing fiction in contemporary Britain and, by extension, around the world. The book begins by situating contemporary British fiction historically as the product of an “aesthetics of compromise” arising from the “realism versus experimentalism” debate that consumed the English literary establishment during the 1960s. In her discussion of the texts, Lynn Wells then draws on a wide range of theoretical approaches, from narrative and psychoanalytic theory to existentialist philosophy and the historiographic ideas of thinkers such as Walter Benjamin, Michel Foucault and Giambattista Vico. These original readings challenge superficial “postmodern” interpretations of contemporary British fiction as pessimistically anti-historical, and reassert the value of readerly engagement and narrative reconstruction of the past.Table of ContentsIntroduction Chapter One: Narrative as Seduction: John Fowles’s The French Lieutenant’s Woman Chapter Two: A Postmodern Allegory of Reading: Angela Carter’s The Infernal Desire Machines of Doctor Hoffman Chapter Three: The Whole Story: Graham Swift’s Waterland Chapter Four: Corso, Ricorso: Historical Repetition and Cultural Reflection in A.S. Byatt’s Possession: A Romance Chapter Five: Unfinished Business: Intertextuality and Historiography in Salman Rushdie’s The Satanic Verses and Midnight’s Children Conclusion Bibliography Index

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Trade Review"…dynamic and engaging." - in: African Theatre, pp. 158-9 "This volume of diverse works … is a treasure for all who are genuinely interested in African studies, especially the complex process of cultural production in Africa." - in: Jouvert, Vol. 6, Issue 3 (2002)Table of ContentsILLUSTRATIONS. INTRODUCTION. Kofi ANYIDOHO: National Identity and the Language of Metaphor. ARTICLES. Kwadwo OPOKU-AGYEMANG: Cape Coast Castle: The Edifice and the Metaphor. Ebow DANIEL: In Celebration of a Harvest of Contemporary Ghanaian Writing. John K. DJISENU: The Art of Narrative Drama in Ghana. Efua T. SUTHERLAND: The Second Phase of the National Theatre Movement in Ghana. Kofi ANYIDOHO: Dr Efua Sutherland: A Biographical Sketch. Kofi ANYIDOHO: Mother Courage (A Tribute to Auntie Efua From All Her Children in the Arts). Anne V. ADAMS: Revis(it)ing Ritual: The Challenge to the Virility of Tradition in Works by Efua Sutherland and Other African Writers. James GIBBS: Efua Theodora Sutherland: A Bibliography of Primary Materials, with a Checklist of Secondary Sources. F. NII-YARTEY: Development and Promotion of Contemporary Choreographic Expression in Ghana. W. OFOTSU ADINKU: The Early Years of the Ghana Dance Ensemble. Kwesi YANKAH: Nana Kwame Ampadu and the Sung Tale as Metaphor for Protest Discourse. Jane BRYCE and Kari DAKO: Textual Deviancy and Cultural Syncretism: Romantic Fiction as a Subversive Strain in Black Women's Writing. Irene M. DANYSH: Ama Ata Aidoo's Changes: The Woman's Voice. Francis NGABOH-SMART: Narrative as Tactics in Armah's Two Thousand Seasons. Philip WHYTE: The Thematic and Formal Importance of the Cinema in Ayi Kwei Armah's Writing. Vincent OKPOTI ODAMTTEN: “For Her Own (Work's) Quality”: The Poetry of Ama Ata Aidoo. A.N. MENSAH; Counting the Ways: The Love Poetry of Kofi Anyidoho. Leif LORENTZON: “Aftermath”: The First (Two?) Poems by Ayi Kwei Armah. M.E. KROPP-DAKUBU: Kojo Laing's Poetry and the Struggle for God. E. SUTHERLAND-ADDY: The Ghanaian Feature Video Phenomenon: Thematic Concerns and Aesthetic Resources. A List of Ghanaian Feature Video Films, 1987-1993. Africanus AVEH: Ghanaian Video Films of the 1990s: An Annotated Selected Filmography. Kofi ANYIDOHO: The Struggle for Liberation is Not Yet Won: Kwaw Ansah's Heritage Africa. James GIBBS: Matters of the Heart. MARKETPLACE: THE MEDIA. Woeli A. DEKUTSEY: Book Publishing and Creative Writing in Ghana. Chris KWAME AWUYAH: The Role of Print and Non-Print Media and Promotional Associations in the Development of Ghanaian Written Literature. W. OFOTSU ADINKU: The Protection of Choreographic Works in Ghana. INTERVIEWS. CREATIVE WRITING. BOOK REVIEWS. ADDRESSES. NOTES FOR CONTRIBUTORS.

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Book SynopsisThis book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein’s concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery’s concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness. Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning.Trade Review"The outcome may improve your skills of film appreciation, knowledge of contemporary art and might also encourage some pondering on the analogue-digital divide presented here." – Mike Leggett, University of Technology SydneyTable of ContentsForeword: What this book is, what this book isn't… Preface: Arriving at the scene… Introduction: Two pictures of a rose in the dark… Part I: Modes of Perception and Modes of Expression Part II: Dynamic And Syntactic Universals Part III: The Moving Target Appendix A: The Paillard Bolex Movie Camera And the J-K Optical Printer Acknowledgements Bibliography

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Table of ContentsIntroduction Sherry Simon: Public Language and the Aesthetics of the Translating City Marian Rothstein: Translation and the Triumph of French: the Case of the Decameron Luise von Flotow: This Time “the Translation is Beautiful, Smooth, and True”: Theorizing Retranslation with the Help of Beauvoir Carolyn Shread: Redefining Translation through Self-Translation: The Case of Nancy Huston Louise Audet: Images et voix dans l’espace poétique de Saint-Denys Garneau: analyse du poème Le Jeu et d’extraits de ses traductions en anglais et en hongrois Marjolijn de Jager: Translation as Revelation Cheryl Toman: Werewere Liking as Translator and Translated Anny Dominique Curtius: The Great White Man of Lambaréné by Bassek ba Kobhio: When Translating a Colonial Mentality Loses its Meaning Sarah Davies Cordova: Traduire la reine Pokou: fidélité ou trahison? Rose-Myriam Réjouis: Object Lessons: Metaphors of Agency in Walter Benjamin’s “The Task of the Translator” and Patrick Chamoiseau’s Solibo Magnifique Rachelle Okawa: Translating Maryse Condé’s Célanire cou-coupé: Dislocations of the Caribbean Self in Richard Philcox’s Who Slashed Celanire’s Throat? A Fantastical Tale Christophe Ippolito: Intercultural Politics: Translating Postcolonial Lebanese Literature in the United States Cindy Merlin: Vu d’ici et là-bas: Le roman contemporain français publié en traduction aux États-Unis

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Book SynopsisFrom Solidarity to Schisms is the first collection to expand discussions of the effects the events of 11 September 2001 and their aftermath have had on fiction and film beyond an exclusively US-based focus. The essays brought together here go beyond critiquing the US to examine the cultural shifts taking place in fiction and cinema from places such as Britain, France, Germany, Australia, Pakistan, Canada, Israel, and Iran. From these many sites of production, the works discussed in this collection illustrate more precisely how 9/11 was “global” without succumbing to neat categorizations, such as “us vs. them,” “East vs. West,” “Christianity vs. Islam,” and so on. From Solidarity to Schisms is an important supplement to the US-centered cultural and critical production addressing 9/11, providing researchers and teachers alike with resources and contexts that will allow them to broaden their own examinations of novels and films by Americans and about the US. It also provides a valuable resource for students and scholars of contemporary global history and international politics who are interested in approaching 9/11, terrorism and counter-terrorism, and related topics from a cultural standpoint.Trade Review"[…] the breadth of analysis on display here provides a range of perspectives that defeats any monolithic thinking with regard to this monumental event." – Ian Copestake, Bamberg, in: ARCHIV 248/2 (2011), pp. 450-2 "Often the only “foreign” responses examined in collections about 9/11 are the British and French ones, but the excellent essays Cilano (Univ. Of North Carolina, Wilmington) has collected take in artistic responses in Germany, Pakistan, Israel, Iran, Canada, and Australia, among other countries. The collection is smartly written and arranged, with helpful abstracts at the head of each essay and a clear style throughout." – in: Choice 47/11 (August 2010)Table of ContentsAcknowledgements Ewa Lipska, trans. Margret Grebowicz: September 11, 2001 Cara Cilano: Introduction: From Solidarity to Schisms Magali Cornier Michael: Writing Fiction in the Post-9/11 World: Ian McEwan’s Saturday Brandon Kempner: “Blow the World Back Together”: Literary Nostalgia, 9/11, and Terrorism in Seamus Heaney, Chris Cleave, and Martin Amis Ulrike Tancke: Uses and Abuses of Trauma in Post-9/11 Fiction and Contemporary Culture Ana Cristina Mendes: “Artworks, Unlike Terrorists, Change Nothing”: Salman Rushdie and September 11 Henrike Lehnguth: Sleepers, Informants, and the Everyday: Theorizing Terror and Ambiguity in Benjamin Heisenberg’s Schläfer Gavin Hicks: My Roommate the Terrorist: The Political Burden of September 11 in Elmar Fischer’s The Friend Alison J. Murray Levine: Ghosts on the Skyline: Chris Marker’s France after 9/11 Carolyn A. Durham: Daring to Imagine: Frédéric Beigbeder’s Windows on the World and Slimane Benaïssa’s La Dernière Nuit d’un damné Silvia Schultermandl: Perspectival Adjustments and Hyper-Reality in 11’09”01 Cara Cilano: Manipulative Fictions: Democratic Futures in Pakistan Sharon Sutherland and Sarah Swan: Margaret Atwood’s Oryx and Crake: Canadian Post-9/11 Worries William Anselmi and Sheena Wilson: From Inch’Allah Dimanche to Sharia in Canada: Empire Management, Gender Representations, and Communication Strategies in the Twenty-First Century Sofia Ahlberg: Within Oceanic Reach: The Effects of September 11 on a Drought-Stricken Nation Nathanael O’Reilly: Government, Media, and Power in the Australian Novel since 9/11 Contributors Index

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Book SynopsisOver the last decade, migration flows from Central and Eastern Europe have become an issue in political debates about human rights, social integration, multiculturalism and citizenship in Great Britain. The increasing number of Eastern Europeans living in Britain has provoked ambivalent and diverse responses, including representations in film and literature that range from travel writing, humorous fiction, mockumentaries, musicals, drama and children’s literature to the thriller. The present volume discusses a wide range of representations of Eastern and Central Europe and its people as reflected in British literature, film and culture. The book offers new readings of authors who have influenced the cultural imagination since the nineteenth century, such as Bram Stoker, George Bernard Shaw, Joseph Conrad and Arthur Koestler. It also discusses the work of more contemporary writers and film directors including Sacha Baron Cohen, David Cronenberg, Vesna Goldsworthy, Kapka Kassabova, Marina Lewycka, Ken Loach, Mike Phillips, Joanne K. Rowling and Rose Tremain. With its focus on post-Wall Europe, Facing the East in the West goes beyond discussions of migration to Britain from an established postcolonial perspective and contributes to the current exploration of 'new' European identities.Table of ContentsAcknowledgements Barbara Korte: Facing the East of Europe in Its Western Isles: Charting Backgrounds, Questions and Perspectives East and West: Mirrorings Elisabeth Cheauré: Infinite Mirrorings: Russia and Eastern Europe as the West’s “Other” Mike Phillips: Narratives of Desire – A Writer’s Statement Christiane Bimberg: ‘A glimpse behind the scenes’, ‘trying to capture the very soul of things Russian’: Literary Representations of Intercultural East-West Encounters in Joseph Conrad’s Under Western Eyes Kapka Kassabova: From Bulgaria with Love and Hate: The Anxiety of the Distorting Mirror (A Writer’s Perspective) Two Poems Kapka Kassabova: Our Names Long and Foreign Kapka Kassabova: The Travel Guide to the Country of Your Birth Journeys, Encounters, Cultural Translations Elmar Schenkel: To Russia with Love: Maurice Baring (1874-1945) Dirk Wiemann: A Russian Romance: 1930s British Writers as Wishful Participants in the Soviet Revolution Sissy Helff: From Euphoria to Disillusionment: Representations of Communism and the Soviet Union in Arthur Koestler’s The Invisible Writing Eva Ulrike Pirker: The Unfinished Revolution: Black Perceptions of Eastern Europe Cinzia Mozzato: Looking Eastwards: Borders and Border-Crossing in the Work of Ken Smith A Play in One Act Mike Phillips: You Think You Know Me But You Don’t Stereotypes: Staying Power and Subversion Vedrana Veličković: Balkanisms Old and New: The Discourse of Balkanism and Self-Othering in Vesna Goldsworthy’s Chernobyl Strawberries and Inventing Ruritania Michael McAteer: A Troubled Union: Representations of Eastern Europe in Nineteenth-Century Irish Protestant Literature Jonas Takors: ‘The Russians could no longer be the heavies’: From Russia with Love and the Cold War in the Bond Series Wolfgang Hochbruck, Elmo Feiten and Anja Tiedemann: ‘Vulchanov! Volkov! Aaaaaaand Krum!’: Joanne K. Rowling’s “Eastern” Europe Nadia Butt: Between Dream and Nightmare: Representation of Eastern Diaspora in Eastern Promises Susanne Schmid: Taking Embarrassment to Its Extremes: Borat and Cultural Anxiety Martin Hermann: Immigrants, Stereotypes and the New Ireland: Czech Identity in and in Response to the Film Once Christian Schmitt-Kilb: Gypsies and Their Representation: Louise Doughty’s Stone Cradle and David Mitchell’s Black Swan Green Polish Identities in Perspective: Accession – Integration – Perception Joanna Rostek and Dirk Uffelmann: Can the Polish Migrant Speak? The Representation of “Subaltern” Polish Migrants in Film, Literature and Music from Britain and Poland Przemysław Wilk: Images of Poles and Poland in The Guardian, 2003-2005 Marie-Luise Egbert: “Old Poles” and “New Blacks”: The Polish Immigrant Experience in Britain (Re-)Visiting Eastern Spaces in Contemporary British Fiction Corina Crişu: British Geographies in the Eastern European Mind: Rose Tremain’s The Road Home Barbara Puschmann-Nalenz: West Faces East: Images of Eastern Europe in Recent Short Fiction Michael Szczekalla: ‘Under Western Eyes’: Eastern Europe and the Soviet Union in the Fiction of Martin Amis, Nicholas Shakespeare and Carl Tighe Ingrida Žindžiuvienė: Images of Lithuania in Stephan Collishaw’s Novels Claudia Duppé: Tourist in Her Native Country: Kapka Kassabova’s Street Without a Name Doris Lechner: Eastern European Memories? The Novels of Marina Lewycka Doris Lechner: Interview with Marina Lewycka Notes on Contributors Index

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Book SynopsisThis volume focuses on the contribution of German-speaking refugees from Nazism to the performing arts in Britain, evaluating their role in broadcasting, theatre, film and dance from 1933 to the present. It contains essays evaluating the role of refugee artists in the BBC German Service, including the actor Martin Miller, the writer Bruno Adler and the journalist Edmund Wolf. Miller also made a career in the English theatre transcending the barrier of language, as did the actor Gerhard Hinze, whose transition to the English stage is an instructive example of adaptation to a new theatre culture. In film, language problems were mitigated by the technical possibilities of the medium, although stars like Anton Walbrook received coaching in English. Certainly, technicians from Central Europe, like the cameraman Wolf Suschitzky, helped establish the character of British film in the 1950s and 1960s. In dance theatre, language played little role, facilitating the influence in Britain of dance practitioners like Kurt Jooss and Sigurd Leeder. Finally, evaluating the reverse influence of émigrés on Germany, two essays discuss Erich Fried’s translations of Shakespeare and Peter Zadek’s early theatre career in Germany.Table of ContentsList of Illustrations Acknowledgements Introduction Radio Charmian Brinson: The Go-Between. Martin Miller’s Career in Broadcasting Jennifer Taylor: Is there Life after Kurt und Willi? Bruno Adler’s anti-Soviet Radio Series Zwei Genossen Ursula Seeber und Barbara Weidle: ‘England but not mine.’ Großbritannien im journalistischen Schaffen von Edmund Wolf Theatre Richard Dove: Gerhard Hinze or Gerard Heinz? A Life in two Acts Marian Malet: Litz Pisk, Dance and Theatre Manya Elrick: ‘Möglichst nah am Original.’ Erich Fried, Poet, Translator and would-be Performer Anna Nyburg: Margarete Berger Hamerschlag and the Theatre. Vienna, Rome, London Günther Rühle: Vom Englischen ins Deutsche. Peter Zadeks Weg ins deutsche Theater Anthony Grenville: Lutz Weltmann, Theatre Critic and Cultural Mediator in the AJR Information Dance Thomas Kampe: The Choreographer Hilde Holger. Between Three Worlds Clare Lidbury: Kurt Jooss and Sigurd Leeder. Refugees, Battle and Aftermath Film Christian Cargnelli: ‘Just part of my Continental charm.’ Anton Walbrooks Filmkarriere im britischen Exil Brigitte Mayr and Michael Omasta: A Lucky Man. Wolf Suschitzky – Photographer and Cameraman Obituary Wilfried Weinke: ‘...den Menschen und den Sachen auf den Grund zu kommen.’ Zu Leben und Werk von Jens Brüning Contributors Index

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Book SynopsisThis volume includes twenty-five interdisciplinary essays on Paul Bowles’s literary and musical work. The legendary author – a North-American expatriate writer and composer, and a cult figure who, according to Norman Mailer “... let in the murder, the drugs, the incest, the death of the square, the end of civilization” – and his artistic output, are explored here by leading contemporary scholars. They seek alternative and multiple perspectives of his work through the dynamics of music and literature, avant-garde film and the No wave scene, torture studies and security, Islamic studies, modernism and surrealism. Following the international conference “Do You Bowles?” held in Lisbon, in 2010, which celebrated Paul Bowles’s 100th birthday, this collection shows how Bowles’s work engages creatively with his predecessors and a variety of perspectives, by rethinking modes of consciousness and of artistic and cross-cultural potential that still inspire todays’ artists and scholars, both as a writer as well as a composer. The editor set up a webpage dedicated to the book: http://www.doyoubowles.org/Table of ContentsAbbreviations Acknowledgements “Paul Bowles Now and Then: Introduction”, Anabela Duarte I. The Fascination of Paul Bowles – Face to Face Secrecies “Paul Bowles as I Knew Him”, Christopher Sawyer-Lauçanno “‘I Would Invite You to Supper but I Have Only One Egg:’ Teaching with Paul Bowles”, Regina Weinreich “The Fascination of Paul Bowles”, Allen Hibbard II. Ecologies of Fear and Violence: Resistance or Desistance? “The Perceptual is Political: Modes of Consciousness in The Spider’s House”, Greg Bevan “Laughing with Thieves: Images of Paul Bowles in Tahar Ben Jelloun and Mohamed Choukri”, Clare Brandabur “The Spider’s House: Paul Bowles and the Question of Moroccan Independence”, Younes Riyani El Assaad “Tangier, Capital of Treason”, Andrew Hussey “False Concepts: The Absence of Security and Intimacy in the Work of Paul Bowles”, Andrew Martino III. Music, Noise and Politics “The Music and Politics of Pastorela (1941)”, Jennifer L. Campbell “Paul Bowles and Latin American Music”, Luis Hérnandez Mergal “‘The Question of Music and Prose, It’s a Tricky One to Answer,’ Paul Bowles: Composer – Writer”, Verena Mogl “The Musical Styles of Early Songs of Paul Bowles”, Carole Blankenship “On Degenerescence and Realms of Suppression: Paul Bowles vis-à-vis Einojuhani Rautavaa”, Zbigniew Bialas “Noise and Violence in Up Above the World – Music as Torture in Modern Fiction”, Anabela Duarte IV. No Maps for these Territories: Bowles, Burroughs and Beyond “Aesthetic Tourists: The Sheltering Sky’s Critique of Modernism”, Christopher Leslie “American Existentialism and Surrealism in Paul Bowles’s ‘The Scorpion’ and ‘By the Water,’ Jack Kerouac and William Burroughs’s And The Hippos Were Boiled in Their Tanks”, Benjamin J. Heal “‘What You Do Is Nearer to What You Are than What You Think Is’: The Importance of Place and Space in Paul Bowles’s Short Fiction”, Isabel Oliveira Martins “Experiences of Death and Dissolution in Paul Bowles’s The Sheltering Sky and Jack Kerouac’s Desolation Angels and The Dharma Bums”, Nuno Marques V. You Are Not I – Film and Text “Good Film Hunting: Sara Driver, Paul Bowles, and Tangier”, Francis Poole “A Resistant Text: ‘You Are Not I’”, Yoshiaki Koshikawa VI. On Intercultural Mediations “Towards an Absent Origin: The Edge of Anger in Paul Bowles’s ‘A Distant Episode’”, Bouchra Benlemlih “The Impossible Relationship with the ‘Other’ in ‘The Time of Friendship’”, Fernando Gomes VII. Momentum No Speed: Film, Bohemia and the Uncanny “The Film Narrator Paul Bowles”, Kostoula Kaloudi “Gothic Short Circuits in Paul Bowles’s Fiction”, Maria Antónia Lima “Literary Friendship: The Bowleses and Tennessee Williams”, Krisztina Dankó Contributors Index

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Book SynopsisJean-Louis Comolli’s six-part essay Technique and Ideologyhad a revolutionary effect on film theory and history when it first appeared in Cahiers du Cinéma in 1971. In 2009, Comolli revisited his earlier text, arguing that the present age, marked by the total dominance of media-filtered spectacle over image production, makes the need for an 'emancipated, critical spectator' more pressing than ever. In this volume, Daniel Fairfax presents annotated translations of these two texts to provide an overview of Comolli’s activity as both a theorist and a filmmaker.Trade Review"Hopefully this intelligent edition will make Comolli and his work more visible to contemporary readers, while also positing the development of a more ‘scientific’ ideological critique not just of individual films, but of cinema and the society of the spectacle as a whole." - William Brown in New Review of Film and Television StudiesTable of ContentsTable of Contents Preface (Philip Rosen) Introduction (Daniel Fairfax) "Yes we were utopians; in a way, I still am...": Interview with Jean-Louis Comolli Cinema against Spectacle I. Opening the Window? II. Inventing the Cinema? III. Filming the Disaster? IV. Cutting the Figure? V. Changing the Spectator? Technique and Ideology Introduction I. On a Dual Origin The ideological place of the "base apparatus" Birth = deferral: the invention of the cinema II. Depth of Field: the Double Scene Bazin's "surplus realism" The work of "transparency" For a materialist history of the cinema "For the first time..." III. "Primitive" Depth of Field IV. Effacement of Depth/Advent of Speech V. Which Speech? Appendix I: Cinema/Ideology/Criticism Appendix II: Machines of the Visible Glossary of Terms Publication History Filmography Bibliography Translator's Notes Index

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Book SynopsisSatyajit Ray's impact on cinema and human life explored in a book detailing his films, writings, and experiences in the industry. Covers his views on art, silent cinema, literary adaptations, and tributes to filmmakers. Offers insights into his film festival experiences as a jury member and contestant.

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Book SynopsisAuthorized biography of Shankar Mahadevan, a multifaceted talent hailed as one of the greatest artists. Reveals his journey from a regular boy in Mumbai to iconic musician. Highlights his training as a veena artist, singing career, and formation of Shankar-Ehsaan-Loy. A heartwarming tale of humanity and success in the music industry.

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Book SynopsisFor the first time this volume makes Jean-Pierre Meunier’s insightful thoughts on the film experience available for an English-speaking readership. Introduced and commented by specialists in film studies and philosophy, Meunier’s intricate phenomenological descriptions of the spectator’s engagement with fiction films, documentaries and home movies can reach the wide audience they have deserved ever since their publication in French in 1969.Trade Review"This is a very likeable scholarly project about Jean-Pierre Meunier, a Belgian film theoretician who wrote an important theoretical work on spectatorship over fifty years ago. It exemplifies the very best in contemporary cinema scholarship dedicated to completing its own history, and may it keep doing so."- Christophe Wall-Romana, University of Minnesota, H-France Review Vol. 21 (May 2021), No. 78 "Supplemented by insightful critical essays and an especially useful and informed introduction, this English translation of a pioneering phenomenological film theorist’s work is without doubt a major event in Anglophone film studies and the philosophy of film. Meunier’s writings are highly significant both historically and conceptually — and as the volume’s essays and interview further demonstrate, his nuanced account of moving-image experience is strikingly current and widely applicable."- Daniel Yacavone, The University of Edinburgh "The Structures of the Film Experience, originally published in 1969, provides unique insight into and even prefigures many of the concerns of contemporary phenomenological and cognitive film theory. Thus it is a welcome development to see this book translated into English. This volume contains not only Meunier’s book-in-translation, but also an introduction, a recent interview, and more than a dozen chapters by leading scholars who contextualize, explicate, and wrestle with Meunier’s ideas. This unique and well-designed volume thus makes a vital contribution to film theory."- Carl Plantinga, Calvin CollegeTable of ContentsJulian Hanich/Daniel Fairfax: Introduction Julian Hanich/Daniel Fairfax: "Every Theory Needs a Reference to Lived Experience": An Interview with Jean-Pierre Meunier Part I Jean-Pierre Meunier: The Structures of the Film Experience: Filmic Identification Introduction Part One: Introduction to the General Structures of Experience Chapter I: Perception I. The point of view of traditional psychology II. The findings of phenomenology Chapter II: Identification I. The origins of the concept II. Identification as the behavior of private intersubjectivity III. The principal aspects of identification a) The motor aspect b) The affective aspect c) The dramatic aspect d) Identification as the basis for the valorization (or devalorization) of other people IV. Fleeting and structuring identifications V. Identification, projection, introjection VI. Identification, mimicry and imitation VII. Identification and personality VIII. Identification, communication and information Part Two: The Film Experience Chapter I: Filmic Consciousness Faced with its Object I. The film as an object of perception II. Film, real and unreal III. The imaginary consciousness IV. The attitudes of filmic consciousness faced with its object a) The home movie b) The documentary film c) The fiction film V. From the home movie to the fiction film VI. Movement 1. The experience of movement 2. Movement in the cinema a) Movement in the home movie b) Movement in the documentary film c) Movement in the fiction film VII. Conclusion Chapter II: Filmic Behavior, Identification I. The types of filmic identification a) Identification in the 'home-movie attitude' b) Identification in the 'documentary attitude' c) Identification in the 'fiction attitude' II. The Differentiation of Identification According to Different Characters Chapter III: Towards Post-Filmic Behavior General Conclusion Part II Critical Essays, Historical Assessments, Phenomenological Expansions I: PLACING MEUNIER IN THE HISTORY OF FILM THEORY Dudley Andrew: Stages of an Encounter with Filmic Identification Daniel Fairfax: Between Phenomenology and Psychoanalysis: Jean-Pierre Meunier's Theory of Identification in the Cinema Robert Sinnerbrink: The Missing Link: Meunier on Imagination and Emotional Engagement II: ON THE HOME-MOVIE ATTITUDE Vivian Sobchack: 'Me, Myself, and I': On the Uncanny in Home Movies Marie-Aude Baronian: Remembering Cinema: On the film-souvenir III: ON IDENTIFICATION Christian Ferencz-Flatz: You Talkin' to Me? On Filmic Identification in Video-Selfies Victor Fan: Illuminating Reality: Cinematic Identification Revisited in the Eyes of Buddhist Philosophies Kate Ince: Whose Identification? A Brief Meditation on the Relevance of Jean-Pierre Meunier's The Structures of the Film Experience to Contemporary Feminist Film Phenomenology IV: REFERENTIALITY AND MEDIATION Guido Kirsten: Jean-Pierre Meunier's Modalities of the "Filmic Attitude": Towards a Theory of Referentiality in Cinematic Discourse Florian Sprenger: Phenomenology, Immediacy, and Mediation: On Derrida, Meunier and Landgrebe V: PHENOMENOLOGICAL EXPANSIONS Jennifer M. Barker: Cinema and Child's Play Vinzenz Hediger: Engines of the Historical Imagination: Towards a Phenomenology of Cinema as Non-Art Julian Hanich: When Viewers Drift Off: A Brief Phenomenology of Cinematic Daydreaming List of Illustrations List of Contributors

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Book SynopsisH. Keith Melton is an Annapolis graduate (class of 1966), Vietnam combat veteran, and an internationally recognized author of non-fiction espionage books. His collection of more than 9,000 espionage artifacts is the centerpiece of the International Spy Museum in Washington, DC.Nigel West was voted the experts' expert' bya panel of spy-writers assembled by the Observer in 1986; and was the recipient of the U.S Association of Former Intelligence Officers first Lifetime Literature Achievement Award.

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Book SynopsisAlan Burton is an experienced scholar of British cinema. He has taught and researched at universities in England and Austria and published on various aspects of British film, including studies of film-makers, genres and film movements. He is also the author of the Historical Dictionary of British Spy Fiction.Steve Chibnall, the co-author of the first edition of the Dictionary, is Professor of British Cinema at De Montfort University, Leicester, UK. He has written or edited a dozen books and journal special issues, regularly contributes booklet notes and commentaries to DVD releases, and frequently comments on aspects of British cinema on radio and television.

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