The Art of Subtraction is the first full-length study on the CD-ROM as a creative platform. Bruno Lessard traces the rise and relatively rapid fall of the CD-ROM in the 1980s and 1990s and its impact as a creative platform for media artists such as Jean-Louis Boissier, Zoe Beloff, Adriene Jenik, and Chris Marker. Although the CD-ROM was not a lasting commercial success it was a vibrant medium that allowed for experimentation in adapting literary works. Building on the work of Gilles Deleuze and Michele Foucault, Lessard establishes a comparative framework for linking digital adaptations with innovative concepts such as 'subtractive adaptation' and the 'object image' that will be of interest to researchers examining literary adaptations on other digital platforms such as websites, smart phones, tablets, and digital games. The Art of Subtraction is a fascinating study of intermediality in the late twentieth century and it provides the first chapter in the yet unwritten history of digital adaptation.

"A.S. Eye See It" is a visual wonderland of digital sketches. The images speak for themselves. It includes art drawn with the use of an eyegaze enabled augmentative communication device, as well as hand drawn digital art. The artist is 7 years old and has Quadriplegic Cerebral Palsy. "A.S. Eye See It" transcends physical reality, and projects a brand new digital landscape.

A work of research on the newly emerged and much talked about method of filmmaking known as no-budget or micro budget or zero budget filmmaking worldwide. In chapter 1, the author tries to define or to locate some of the specific features common with the films widely known as no-budget productions and thus approaches towards a more coherent understanding of the term. The popular information resources are consulted as there are no academic definitions still available. In chapter 2, the historical process of the emergence of no-budget filmmaking practice is discussed analytically and the similar approaches and precursors of the practice are looked for in the larger film history. In the final chapter, the democratization that took place with the no-budget method being applied on the film medium is focused. The creative freedom of the artist is the major concern here. The primary hurdle of writing this paper is the scarcity of trusty enough source materials. Quite astonishingly this much popular a terrain has been left largely unexplored academically till date. Mainly artists who have produced no-budget film(s) in their filmmaking career are consulted, that is to say, interviewed for putting this paper into shape. Through their understanding of the method the author tries to come to an understanding of his own. In this process many of the popular but vague conceptions regarding the practice are completely discarded. The old and the armchair theories and conceptions are replaced with the new ones coming directly from the field by exploring it. The key argument is to focus on the unique democratic nature of the no-budget filmmaking process situating it as the successor of avant-garde and independent filmmaking tradition in the larger film history.

"The greatest tragedy of all is friendship." The legends of the great Jewish gangsters come to life in this unproduced screenplay that tells the epic tale of Bugsy Siegel and Meyer Lansky, two friends who rose from the streets to rule American organized crime and found the city of Las Vegas. Intense, violent, moving, and tragic, "Bugsy and the Little Man" recounts one of modern America's darkest and most enduring legends.

"Create Your Own World " is a motto of visionary artists. We all enjoy escaping into, and journeying within, fictional realms. Some aspire to create their own unique artistic worlds. "Fictional Worlds," intended for all readers who love literature and film, and especially for writers, filmmakers, and videogame designers, points at new ways of navigating, exploring, and creating entrancing fictional universes. This book's promise is to make its readers more confident fictional world travelers and compelling storytellers. A holistic and evolutionary study of narrative from ancient rituals, myths and fairytales to the current day, this book blends a creative and intellectual approach to writing. The themes of journey, the wonderworld, quest for knowledge, symbolic death-rebirth, conflict resolution, family, and community are at the core of this inquiry into the nature of narrative, its politics and poetics. Teaching nuts and bolts of writing fiction, this book connects the "cultural" dots in the trajectory of the dramatic arc, elucidating the power of storytelling. With Odysseus as a guide, "Fictional Worlds" is a journey through the landscape of narrative traditions, emerging practices and artistic debates. The four books of this volume explore key genres such as action-adventure, drama, mystery, and comedy.

"This brilliant book is far more than a screenwriting manual. Ranging across the globe and throughout history we have here a dazzling survey of the intellectual foundations and possibilities of the cinema. This is must-reading for anyone who is interested in how and, more importantly, why we tell stories on screen." -- David Desser, author of "Eros plus Massacre: An Introduction to the Japanese New Wave Cinema"; co-author of "American Jewish Filmmakers"

"A new theory of narrative, which I find both convincing and uplifting. Illuminating and useful anthropological theory of genres. Terrific choice of examples, as well as the analysis. 'Dos and Don'ts: Creative Solutions for the Formulaic Plot' will be immensely helpful to practitioners.... Among interesting ideas: the murder mystery-as tragedy in reverse And the role of film noir... And 'Ulysses as a Peter Pan for grownups' - I love it " -- Linda Hutcheon, Distinguished Professor Emeritus, University of Toronto, author of "A Poetics of Postmodernism," "The Politics of Postmodernism," and "A Theory of Parody: The Teachings of Twentieth-Century Art Forms"

"An innovative approach to teaching screenwriting, based in original scholarship of real importance. The book's ideas are of impressive originality and practicality, and expounded with exemplary clarity. Dr. Alexander does a splendid job making a case for the new and more productive understanding of genre. The book features an elegant commentary on the distinction between film as ritual and ceremony. There is much to recommend this fine volume, the writing is generally elegant. The chapter on mystery is so brilliant that it alone would make this book worthy of a semester's study." -- R. Bruce Elder, filmmaker; author of "Harmony and Dissent: Film and Avant-Garde Art Movements," and "DADA, Surrealism and the Cinematic Effect"

"There's much I admire about "Fictional Worlds," starting with the core project of bridging between narrative theory, anthropological perspectives on myth and ritual, and work in screen studies. I have never seen the books addressing Joseph Campbell's 'Hero's Journey' with relation to screenwriting in the exhaustive detail and with the nuance that Alexander deploys here, and with such a rich array of examples. What I admire is Alexander's insistence on historical and cultural specificity, even while tracing connections in the kinds of stories that have emerged across times and cultures." -- Henry Jenkins, Professor, University of Southern California; author of "Convergence Culture: Where Old and New Media Co

This book is a compilation of various non traditional works involving photo manipulations via the use of texture overlays or of multiple exposures or montages. Also included are several images constructed from scratch in photo editing software.

These paintings are called light fractal because they are created entirely with pixels of light. And fractal because the method of creation is with a new and experimental set of "brushes" that each have a unique set of fractal algorithms. What further sets them apart is in the act of applying the color/light, the brush acts dynamically, has a unique movement. And as that movement unfolds you react and interact with the brush. It is a completely unique way of painting. There is a leading and a following simultaneously. And like any digital graphic software, a seemingly endless number of variations are available to create brushes.