In the movies, government often finds itself in a variety of roles from villain to supporting cast, and rarely, if ever, the hero. A frequent component of that role is the bureaucracy and as documented in Civil Servants on the Silver Screen: Hollywood's Depiction of Government and Bureaucrats, bureaucrats are routinely found on screen. This book investigates how government bureaucrats are portrayed in the top ten box office grossing films from 2000 through 2015. Perhaps unsurprisingly, government is generally portrayed poorly, while individual government bureaucrats are typically depicted positively. These images of government on screen are particularly important given the ability of movies to influence the attitudes and perceptions of its audiences. The nature of these depictions and potential implications are considered as bureaucrats in film are categorized.

"Parallel Practices: Joan Jonas & Gina Pane" considers the works of two pioneers of performance art. Jonas (born 1936) and Pane (1939-1990) lived and worked in the United States and France respectively. Each artist worked multidisciplinarily, producing sculpture, drawings, installations, film and video in addition to live actions. Notably, Jonas and Pane have been lauded for their foundational work in performance, a field in which both of these artists blazed trails. Published to accompany an exhibition at the Contemporary Arts Museum Houston, "Parallel Practices" explores the trajectory of these artists' practices to reveal shared and complementary aspects, as well as to highlight the significant divergences and differences that characterize each artist's work. It includes texts by curator Dean Daderko, Elisabeth Lebovici and Anne Tronche and Barbara Clausen.

Mad movie ad collector Michael Gingold returns with Ad Nauseam II, a deep dive into his personal collection of horror movie newsprint notices from the 1990s and 2000s. Feast your nostalgic eyes on more than 500 striking ads for the big-budget Gothics of the early and mid-'90s (Bram Stoker's Dracula, Interview with the Vampire), the slasher-film revival (Scream, I Know What You Did Last Summer, Halloween: H20), gruesome franchises (Saw, Final Destination), remakes (The Texas Chainsaw Massacre, Dawn of the Dead, The Ring), found footage films (The Blair Witch Project, Paranormal Activity) and more. Plus, unforgettable critic quotes of the time, fascinating facts about the films' releases, and Michael's always insightful commentary! Also available: Ad Nauseam: Newsprint Nightmares from the '70s and '80s and Ad Astra: 20 Years of Newspaper Ads For Sci-Fi & Fantasy Films (the 1980s and 1990s).

Orphan Black: Performance, Gender, Biopolitics is an edited collection that covers the areas in which the series has generated the most academic interest: performance and technology; gender and reproduction; biopolitics and community. Chapters explore the digital innovations and technical interactions between human and machine that allow the show to challenge conventional notions of performance and identity, while others address family themes and Orphan Black's own textual genealogy within the contexts of (post-)evolutionary science, reproductive technology and the politics of gender. Still others extend that inquiry on family to the broader question of community in a 'posthuman' world of biopolitical power; here, scholars mobilize philosophy, history of science and literary theory to analyze how Orphan Black depicts resistance to the many forms of power that attempt to capture, monitor and shape life.

Sharon Lockhart: Lunch Break III is the third volume in a series examining the work of acclaimed video artist and photographer Sharon Lockhart. Known for collaborating with remote or marginal communities such as blue-collar workers of the twenty-first century, as she did in Sharon Lockhart: Lunch Break I, the artist also blurs the line between photography, video art, and documentary. The results are staged and artificial, yet at the same time intimate and deeply human. Her newest museum installations also incorporate artworks and utilitarian objects made by others, expanding upon earlier forms of institutional critique. This book includes essays by curators and scholars who provide an international perspective on the artist's evolving series. Stunningly illustrated, Sharon Lockhart: Lunch Break III serves as a reminder of the power and beauty of Lockhart's art.

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme '95); Latin American Third Cinemas (Birri, Sanjines, Espinosa, Solanas); radical art and the avant-garde (Bunuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollain, Debord, Hermosillo, Isou, Kieslowski, Painleve, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

An illuminating volume of critical essays charting the diverse territory of digital humanities scholarship The digital humanities have traditionally been considered to be the domain of only a small number of prominent and well-funded institutions. However, through a diverse range of critical essays, this volume serves to challenge and enlarge existing notions of how digital humanities research is being undertaken while also serving as a kind of alternative guide for how it can thrive within a wide variety of institutional spaces. Focusing on the complex infrastructure that undergirds the field of digital humanities, People, Practice, Power examines the various economic, social, and political factors that shape such academic endeavors. The multitude of perspectives comprising this collection offers both a much-needed critique of the existing structures for digital scholarship and the means to generate broader representation within the field. This collection provides a vital contribution to the realm of digital scholarly research and pedagogy in acknowledging the role that small liberal arts colleges, community colleges, historically black colleges and universities, and other underresourced institutions play in its advancement. Gathering together a range of voices both established and emergent, People, Practice, Power offers practitioners a self-reflexive examination of the current conditions under which the digital humanities are evolving, while helping to open up new sustainable pathways for its future. Contributors: Matthew Applegate, Molloy College; Taylor Arnold, U of Richmond; Eduard Arriaga, U of Indianapolis; Lydia Bello, Seattle U; Kathi Inman Berens, Portland State U; Christina Boyles, Michigan State U; Laura R. Braunstein, Dartmouth College; Abby R. Broughton; Maria Sachiko Cecire, Bard College; Brennan Collins, Georgia State U; Kelsey Corlett-Rivera, U of Maryland; Brittany de Gail, U of Maryland; Madelynn Dickerson, UC Irvine Libraries; Nathan H. Dize, Vanderbilt U; Quinn Dombrowski, Stanford U; Ashley Sanders Garcia, UCLA; Laura Gerlitz; Erin Rose Glass; Kaitlyn Grant; Margaret Hogarth, Claremont Colleges; Maryse Ndilu Kiese, U of Alberta; Pamella R. Lach, San Diego State U; James Malazita, Rensselaer Polytechnic Institute; Susan Merriam, Bard College; Chelsea Miya, U of Alberta; Jamila Moore Pewu, California State U, Fullerton; Urszula Pawlicka-Deger, Aalto U, Finland; Jessica Pressman, San Diego State U; Jana Remy, Chapman U; Roopika Risam, Salem State U; Elizabeth Rodrigues, Grinnell College; Dylan Ruediger, American Historical Association; Rachel Schnepper, Wesleyan U; Anelise Hanson Shrout, Bates College; Margaret Simon, North Carolina State U; Mengchi Sun, U of Alberta; Lauren Tilton, U of Richmond; Michelle R. Warren, Dartmouth College.

The first collection of Annette Michelson's influential writings on film, with essays on work by Marcel Duchamp, Maya Deren, Hollis Frampton, Martha Rosler, and others. The celebrated critic and film scholar Annette Michelson saw the avant-garde filmmakers of the 1950s and 1960s as radically redefining and extending the Modernist tradition of painting and sculpture, and in essays that were as engaging as they were influential and as lucid as they were learned, she set out to demonstrate the importance of the underappreciated medium of film. On the Eve of the Future collects more than thirty years' worth of those essays, focusing on her most relevant engagements with avant-garde production in experimental cinema, particularly with the movement known as American Independent Cinema. This volume includes the first critical essay on Marcel Duchamp's film Anemic Cinema, the first investigation into Joseph Cornell's filmic practices, and the first major explorations of Michael Snow. It offers an important essay on Maya Deren, whose work was central to that era of renewal and reinvention, seminal critiques of Stan Brakhage, Hollis Frampton, and Harry Smith, and overviews of Independent Cinema. Gathered here for the first time, these texts demonstrate Michelson's pervasive influence as a writer and thinker and her role in the establishment of cinema studies as an academic field. The postwar generation of Independents worked to develop radically new terms, techniques, and strategies of production and distribution. Michelson shows that the fresh new forms they created from the legacy of Modernism became the basis of new forms of spectatorship and cinematic pleasure.