Search results for ""bloomsbury publishing""

We are delighted to announce the publication, in partnership with The RNLI, of a special, Limited Edition of The Lifeboat: Courage on our Coasts. This edition is bound in real cloth and quarter-bound by hand using the yellow fabric from the over-jacket or trouser of the all-weather waterproofs used by the RNLI. The book is presented in a unique pouch which is handmade in the UK from the distinctive red fabric and reflective badge from a decommissioned RNLI inshore lifejacket. The Limited Edition book and pouch are presented in a Lifeboat display box bound in navy cloth. Only 350 Limited Editions have been produced and each is signed and numbered by Nigel Millard. The Royal National Lifeboat Institution is the charity that saves lives at sea. For nearly two hundred years its volunteers have shown courage and selflessness in facing storm and shipwreck to offer assistance. Never taken for granted, these qualities of service transcend the centuries to ring as true now as in the earliest days of the lifeboats. This unprecedented new book is a photographic celebration of everyday bravery, compassion, and outstanding commitment in the toughest of conditions. From the Cornish coasts to the Shetland Isles, we join crewman and photographer Nigel Millard as he travels the length of Britain and Ireland, living and working with his fellow lifeboatmen and accompanying them on their rescue missions. For those Limited Editions purchased through Bloomsbury, a minimum of 20% of the purchase price will be paid in support of the RNLI.

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Joel Augros is Associate Professor of Film at the Université Paris 8 - Vincennes, France. Nolwenn Mingant is Associate Professor of American Studies at the Université de Nantes, France. She is the author of Hollywood à la conquête du monde: Marché, stratégies, influences (2010). She is a co-founding member of research group CinEcoSA and co-organizer of research seminar MENA Cinema.Cecilia Tirtaine is Senior Lecturer in British Studies at the Université Sorbonne Nouvelle - Paris 3, France. She is a co-founding member of research group CinEcoSA, and a co-founder and associate editor of peer-reviewed international online journal InMedia.

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Nuria Triana-Toribio is Professor of Hispanic Studies at the University of Kent, UK. Her research interests include Spanish film and film cultures, cultural studies, and popular cinema and culture. She is the author of Spanish National Cinema (2003), co-author of The Cinema of Álex de la Iglesia (2007) and co-editor of the Spanish and Latin Filmmakers series for Manchester University Press.

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Nuria Triana-Toribio is Professor of Hispanic Studies at the University of Kent, UK. Her research interests include Spanish film and film cultures, cultural studies, and popular cinema and culture. She is the author of Spanish National Cinema (2003), co-author of The Cinema of Álex de la Iglesia (2007) and co-editor of the Spanish and Latin Filmmakers series for Manchester University Press.

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Dont Look Back, a documentary film of Bob Dylan's 1965 England tour, is recognised as a landmark work in the field of documentary film-making, contributing to the cultural life of an era. This text examines the aesthetic, thematic and social dynamics of the film in order to elucidate how and why it was a groundbreaking piece of documentary cinema.

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Nollywood is often portrayed by the popular press as an unruly industry, with mysteriously fast and cheap production and shadowy distribution networks. In the first overview of Nigeria's burgeoning video film industry, Jade L. Miller reveals that this portrayal is over-simplistic and often untrue. Investigating Nollywood's complete global production and distribution chain, Nollywood Central presents a full portrait of the Nollywood industry as both highly organised and strategically structured. In doing so, it interrogates the position and rise of new cultural industry hubs, demonstrating how a creative industry can emerge, be sustainable and circulate globally even though it exists outside of formal global networks and government-supported infrastructure. Deepening understanding of this prolific industry while at the same time contributing to debates surrounding global flows of culture, this is a critical resource for students and scholars of Media and Communication Studies, Film Studies, Television Studies and African Studies.

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Hollywood has a complex relationship with local markets around the world. This critical yet accessible overview of Hollywood’s local presence investigates the dynamic between the studios’ film entertainment divisions and individual media markets – exploring how their position, partnerships and practices function in an era characterised by globalisation, digitisation and convergence. Engaging with key scholarly and industrial debates, the book incorporates first-hand accounts gathered from extensive fieldwork and research. It addresses a wide range of international operations, from creative partnerships and production strategies to promotional and distribution processes. With a particular focus on Europe and Latin America, the text interrogates earlier notions of a ‘global Hollywood’ and globalisation, where media conglomerates were viewed as economically rational or all-powerful organisations. By exploring how decision-making processes and creative negotiations between Hollywood media executives and local forces operate, it reveals the complex picture of filmmaking and circulation in today’s supposedly globalised and digitised societies.

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Stuart Henderson is Senior Marketing Manager at Studiocanal, UK. He has published articles in a number of scholarly journals and has a PhD in Film Studies from the University of Warwick, UK.

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Stuart Henderson is Senior Marketing Manager at Studiocanal, UK. He has published articles in a number of scholarly journals and has a PhD in Film Studies from the University of Warwick, UK.

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REBECCA SULLIVAN is Professor and Coordinator of the Women's Studies program at the University of Calgary, Canada. She is the author of Visual Habits: Nuns, Feminism and Postwar American Popular Culture (2005) and Bonnie Sherr Klein's 'Not a Love Story' (2014), and co-author of Pornography: Structures, Agency and Performance (2015).

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A wide-ranging account of the Indian film star Madhuri Dixit, one of the most popular actresses of Hindi cinema. Nandana Bose's study traces Dixit's twenty-five year career, exploring her star persona, her indelible impact on Indian popular culture, and her continuing popularity even in middle age. Nandana Bose discusses Dixit's unusual and distinctive career trajectory that upends pre-existing models of female stardom, by marrying at the peak of her career, withdrawing from the limelight for years, and then returning to extend her career into her early fifties by reinventing herself as a transmedia celebrity for a new generation. However, it is her unique talent as a dancer, and her innovative choreographic styles and repertoire of movements that make her standout from other Hindi film stars. Surveying Dixit's film-making career, Bose argues that she represents a wholesome and traditional figure of femininity that has resonated across class and cultural hierarchies at a time of great economic and social change in India.

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Stephen Groening is Assistant Professor of Film and Media Studies at George Mason University, USA. He has published a number of articles in academic journals and edited anthologies.

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Lez Cooke is Senior Research Officer in the Department of Media Arts at Royal Holloway, University of London, UK. He is theauthor of Troy Kennedy Martin (2007), A Sense of Place: Regional British Television Drama, 195682 (2012) and Style in British Television Drama (2013). He is on the editorial board of the Journal of British Cinema and Television.

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Michael Temple is Reader in Film and Media at Birkbeck, University of London, UK.He is author of Jean Vigo (2005) and co-editor of TheFrench Cinema Book (2004) andJean-Luc Godard: Documents (2006), among other titles. Karen Smolens is the niece of Richard Roud. She attended her first New York Film Festival at age 13, where she saw her uncle moderate a press conference with Roberto Rossellini following a screening of The Rise of Louis XIV (1966). She lives in Brookline, Massachusetts, USA.

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Michael Lawrence is Lecturer in Film Studies at the University of Sussex, UK.

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Dan North is an independent scholar. He is the author of Performing Illusions: Cinema, Special Effects and the Virtual Actor (2008), and editor of Sights Unseen: Unfi nished British Films (2008). Bob Rehak is Associate Professor in the Department of Film and Media Studies at Swarthmore College, USA. His work has appeared in Cinema Journal, Film Criticism, and The Cybercultures Reader (2007). Michael S. Duffy is Lecturer in Film and Media Studies at Towson University, USA. His essays have appeared in numerous anthologies, including Volumes I and II of Directory of World Cinema: American Hollywood (2011, 2015).

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Paolo Cherchi Usai provides a comprehensive introduction to the study, research and preservation of silent cinema from its heyday in the early 20th century to its present day flourishing. He traces the history of the moving image in its formative years, from Edison’s and Lumière’s first experiments to the dawn of ‘talkies’; provides a clear guide to the basics of silent film technology; introduces the technical and creative roles involved in its production, and presents silent cinema as a performance event, rather than a passive viewing experience. This new, greatly expanded edition takes the reader on a new journey, exploring silent cinema in the broader context of technology, culture, and society, from the invention of celluloid film and its related machinery to film studios, laboratories, theatres and audiences. Among the people involved in the creation of a new art form were filmmakers, actors and writers, but also engineers, entrepreneurs, and projectionists. Their collective efforts, and the struggle to preserve their creative work by archives and museums, are interwoven in a compelling story covering three centuries of media history, from the magic lantern to the reinvention of silent cinema in digital form. The new edition also includes comprehensive resource information for the study, research, preservation and exhibition of silent cinema.

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This book brings together a host of internationally recognised scholars to provide an interdisciplinary perspective on the representation of the child in cinema. Individual chapters examine how children appear across a broad range of films, including Badlands (1973), Ratcatcher (1999), Boyhood (2014), My Neighbour Totoro (1988), and Howl’s Moving Castle (2004). They also consider the depiction of children in non-fiction and non-theatrical films, including the documentaries Être et Avoir (2002) and Capturing the Friedmans (2003), art installations and public information films. Through a close analysis of these films, contributors examine the spaces and places children inhabit and imagine; a concern for children’s rights and agency; the affective power of the child as a locus for memory and history; and the complexity and ambiguity of the child figure itself. The essays also argue the global reach of cinema featuring children, including analyses of films from the former Yugoslavia, Brazil and India, as well as exploring the labour of the child both in front of and behind the camera as actors and filmmakers. In doing so, the book provides an in-depth look into the nature of child performance on screen, across a diverse range of cinemas and film-making practices.

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Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London, UK. She is the author of Death Twenty-four Times a Second: Stillness and the Moving Image (2006), Visual and Other Pleasures (1989; 2009), and the BFI Film Classic on Citizen Kane (1992; 2012).

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RAYMOND DURGNAT (19322002) was the author of many groundbreaking books about the cinema, among them Films and Feelings (1967), Sexual Alienation in the Cinema (1972), The Strange Case of Alfred Hitchcock and Jean Renoir (both 1974), a study of WR: Mysteries of the Organism (1999) in the BFI Film Classics series, and A Long Hard Look at Psycho (2002), a second edition of which has also published in the BFI Silver series. KEVIN GOUGH-YATES Film historian. He is considered the authority on European film-makers in Britain and has written extensively about them. His published interviews and retrospectives in the early 1970s were the first to bring the work of the British director Michael Powell to wider critical attention.

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PAUL GRAINGE is Associate Professor of Film and Television Studies at the University of Nottingham, UK. He is the author of Brand Hollywood: Selling Entertainment in a Global Media Age (2008), Monochrome Memories: Nostalgia and Style in Retro America (Praeger, 2002), the editor of Memory and Popular Film (2003) and co-author of Film Histories: An Introduction and Reader (2007).

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Keri Walsh is Assistant Professor of English at Fordham University in New York.

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LEE GRIEVESON is Director of Film Studies at University College London. COLIN MACCABE is Distinguished Professor of English and Film at the University of Pittsburgh and Associate Director of the London Consortium.

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Serial killing is an extremely rare phenomenon in reality that is none-theless remarkably widespread in the cultural imagination. Moreover, despite its rarity, it is also taken to be an expression of characteristic aspects of humanity, masculinity, or our times. Richard Dyer investigates this paradox, focusing on the notion at its heart: seriality. He considers the aesthetics of the repetition of nastiness and how this relates to the perceptions and anxieties that images of serial killing highlight in the societies that produce them. Shifting the focus away from the US, which is often seen as the home of the serial killer, Lethal Repetition instead examines serial killing in European culture and cinema – ranging from Scandinavia to the Mediterranean and from Britain to Romania. Spanning all brows of cinema – including avant-garde, art, mainstream and trash – Dyer provides case studies on Jack the Ripper, the equation of Nazism with serial killing, and the Italian giallo film to explore what this marginal and uncommon crime is being made to mean on European screens.

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LAURA RASCAROLI?is Senior Lecturer in Film Studies at University College Cork. She is the author of The Personal Camera: Subjective Cinema and the Essay Film (2009) and the co-author (with Ewa Mazierska) of From Moscow to Madrid: European Cities, Postmodern Cinema (2003), The Cinema of Nanni Moretti: Dreams and Diaries (2004), and Crossing New Europe: Postmodern Travel and the European Road Movie (2006). She is also the co-editor (with Patrick O'Donovan) of The Cause of Cosmopolitanism: Dispositions, Models, Transformations (2010). JOHN DAVID RHODES is ?is Senior Lecturer in Literature and Visual Culture at the University of Sussex. He is the author of Stupendous, Miserable City: Pasolini's Rome (2007) and Meshes of the Afternoon (2011), and the co-editor (with Brian Price) of On Michael Haneke (2010), and (with Elena Gorfinkel) of Taking Place: Location and Moving Image (2011). He is a founding co-editor of the journal World Picture.

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SUE THORNHAM is Professor of Media and Film and Head of School at the University of Sussex, UK. She is the author of Passionate Detachments: An Introduction to Feminist Film Theory (1996), Feminist Theory and Cultural Studies (2001) and Women, Feminism and Media (2007); the co-author, with Tony Purvis, of Television Drama: Theories and Identities (2005); the editor of Feminist Film Theory: A Reader (1999), and the co-editor, with Caroline Bassett and Paul Marris, of Media Studies: A Reader (3rd edition 2009).

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RICHARD ROUD (192989) was an American writer on film and co-founder and latterly Director of the New York Film Festival. In the 1950s, Roud was the London Correspondent of Cahiers du cinéma, and from 1963 to 1969, Chief Film Critic for the Guardian newspaper. His books include Cinema: A Critical Dictionary The Major Film-Makers (two volumes, 1980), A Passion for Film: Henri Langlois and the Cinémathèque Française (1983), and Jean-Marie Straub (1972), also in the Cinema One series. MICHAEL TEMPLE is Reader in Film and Media at Birkbeck, University of London, UK. His publications include, as co-editor, Jean-Luc Godard: Documents (2006); The French Cinema Book (2004), and For Ever Godard (2004) and, as author, Jean Vigo (2005).

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ANDREW OSMOND is a freelance journalist and has written for a range of publications including Sight & Sound, Empire, SFX and the Guardian. He is the author of a BFI Film Classic on Spirited Away (2008).

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TOM BROWN is Lecturer in the Department of Film, Theatre and Television at the University of Reading, UK. He is co-Editor, with James Bennett, of Film and Television After DVD (2008). JAMES WALTERS is Lecturer in Film and Television Studies at the University of Birmingham, UK. He is the author of Fantasy Film(2010) and Alternative Worlds in Hollywood Cinema (2008).

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A dominant international cultural force, the video game industry is diverse and increasingly influential. In this illuminating study, Randy Nichols examines the origins, history, and current characteristics of the industry - including case studies of it's major players and analysis of it's culture, production processes and ties to other industries.

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PAUL COATES is a Paul Coates, Professor in the Film Studies Department of the University of Western Ontario, Canada. He is the author of The Story of the Lost Reflection (1985), The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror (1991) and Cinema, Religion and the Romantic Legacy (2003).

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Film production in Latin America is as old as cinema itself, but local film industries have always been in a triangulated relationship with Hollywood and European cinema. This book situates Latin American film industries within the global circulation of film production, exhibition and distribution, charting the changes that the industries have undergone from the sound era to the present day. Focusing in particular on Argentina, Brazil and Mexico, Tamara Falicov examines commonalities among Latin American film industries, such as the challenges of procuring funding, competition from Hollywood, state funding battles, and the fickle nature of audiences, as well as censorship issues, competition from television, and the transnational nature of Latin American film. She addresses production, exhibition, and distribution contexts and financing and co-production with Europe and the United States, as well as the role of film festivals in funding and circulating films both within and outside of Latin America. Newer trends such as the revival of protectionist measures like the screen quota are framed in contrast to the U.S.'s push for trade policy liberalization and issues of universal concern such as film piracy, and new technologies and the role of television in helping and hindering Latin American cinema.

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DEBORAH JERMYN is Reader in Film and Television at Roehampton University. She is the author of Crime Watching: Investigating Real Crime TV (2006) and a study of Sex and the City in the TV Milestones series (2009) and the co-editor of Falling in Love Again: Romantic Comedy in Contemporary Cinema (2008).

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This revised and updated new edition provides a guide to 100 of the most interesting and influential American independent films, from Bonnie and Clyde to Junebug by way of Reservoir Dogs and The Blair With Project with an introduction to the genre and a rich selection of images from the films discussed, plus key credits.

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BRIAN WINSTON is the Lincoln Professor of Communications at the University of Lincoln, and has been involved with documentary since 1963. He has an Emmy for documentary scriptwriting; has taught documentary in both the US and the UK; and has long been involved with many international documentary film festivals and the Visible Evidence conference series. Winston first wrote about documentary in 1978. He is the author of a number of books, including Media, Technology and Society: A History, from the Telegraph to the Internet (1998), a volume on 'Fires Were Started' (1999) in the BFI Film Classics series, Lies, Damn Lies and Documentaries (2000) and Messages: Free Expression, Media and the West, from Gutenberg to Google (2005).

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MARK DUGUID is a Senior Curator of the BFI National Archive, and is the editor of, and a major contributor to BFI Screenonline, an online research and educational resource devoted to the history of film and television in Britain. He has contributed to Sight& Sound magazine and to the Encyclopedia of Television (2004).

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JOHN HILL is Professor of Media at Royal Holloway, University of London. He is the author of Sex, Class and Realism: British Cinema 195663 (1986), British Cinema in the 1980s (1999) and Cinema and Northern Ireland: Film, Culture and Politics (2006), the co-author of Cinema and Ireland (1987) and the co-editor of various collections, including The Oxford Guide to Film Studies (1998).

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Lawrence of Arabia is widely considered one of the ten greatest films ever made - though more often by film-goers and film-makers than by critics. This monograph argues that popular wisdom is correct, and that Lean's film is a unique blend of visionary image-making, narrative power, mythopoetic charm and psychological acuteness.

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Vanessa Toulmin is Research Director, National Fairground Archive at the University of Sheffield and a leading authority on Victorian entertainment and film.

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Robert Murphy is Professor in Film Studies, De Montfort University, Leicester. Previous publications include The British Cinema Book, (ed.) (bfi Publishing, 1997, 2001) and Realism and Tinsel: Cinema and Society in Britain, 1939-49 (Routledge, 1989).

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Douglas Gomery is resident Scholar, Library of American Broadcasting and Film, University of Maryland. Luke Hockley is a member of the Centre for Research in Media and Cultural Studies at the University of Sunderland.

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David Curtis is Senior Research Fellow at the AHRB British Artists' Film & Video Study Collection, Central Saint Martins, University of the Arts London. From 1977 to 2000 he was responsible for artists' film at the Arts Council of Great Britain. In 2003-4 he curated Tate Britain's largest-ever show of artists' film and video, A Century of Artists' Film in Britain. He was involved in the London Filmmakers' Co-op in the late 1960s and ran the cinema at both the Drury Lane and Robert Street (IRAT) Arts Laboratories. His book Experimental Cinema (1970) was one of the first books to survey the international film avant-garde.

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Ian Christie is the author of Arrows of Desire: the Films of Michael Powell and Emeric Pressburger (1985, 1994) and has written and edited four other books about their work. He has organised many retrospectives and played a part in the films' restoration. He is currently Professor of Film and Media History at Birkbeck College, University of London, and a regular broadcaster. Andrew Moor is Lecturer in Film Studies at the University of Wales in Bangor. He is author of Powell and Pressburger: A Cinema of Magic Spaces (2005) and contributed essays on Powell and Pressburger to a range of other publications.

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ANNE BILLSON is a film critic and author of several books, one of which (Suckers) is a novel about vampires. She lives in Paris, France.

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Mark Readman is a Programme Manager in Media Production and Advanced Practitioner at Bridgwater College in Somerset, UK. He has more than ten years' experience in media education and is currently an Assessor and an External Verifier for two of the English awarding bodies. He is also the author of Teaching Scriptwriting, Screenplays and Storyboards for Film and TV Production in this series (2003).Vivienne Clark is a Principal Examiner for A Level Media Studies, a BFI Associate Tutor, a freelance writer, editor and teacher trainer. She has written several textbooks and teaching resources and is a course tutor on the BFI/Middlesex University MA level module: An Introduction to Media Education.

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Sarah Casey Benyahiais Lecturer in Film and Media Studies.

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Pete Fraser is Chief Examiner of A level Media Studies for one of the English awarding bodies and Head of Media Studies at Long Road Sixth Form College, Cambridge, where he oversees one of the largest cohorts for the subject in the country. He has taught Media Studies for nearly 20 years, with a particular focus upon video work for the past decade. He regularly delivers INSET for teachers on both course management and practical work, particularly using Apple's iMovie. He is author of another title in this series: Teaching Digital Video Production.

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