This book systematically explores how popular Hollywood film portrays environmental issues through various genres. In so doing, it reveals the influence exerted by media consolidation and the drive for profit on Hollywood's portrayal of the natural landscape, which ultimately shapes how environmental problems and their solutions are presented to audiences. Analysis is framed by a consideration of how cultural studies can make more theoretical and practical room for environmental concern, thereby expanding its capacity for critical examination. The book begins by introducing the theoretical underpinning of the research as it relates to cultural studies, landscape, and genre. In the chapters that follow, each genre is taken in turn, starting with popular animated family films and progressing through spy thrillers, eco-thrillers, science fiction, Westerns, superhero films, and drama. This book is ideal for students and scholars in a variety of disciplines, including film, environmental studies, communication, political economy, and cultural studies.

Revolution and Rebellion in Mexican Film examines Mexican films of political conflict from the early studio Revolutionary films of the 1930-50s up to the campaigning Zapatista films of the 2000s. Mapping this evolution out for the first time, the author takes three key events under consideration: the Mexican Revolution (1910-1920); the student movement and massacre in 1968; and, finally, the more recent Zapatista Rebellion (1994-present). Analyzing films such as Vamanos con Pancho Villa (1936), El Grito (1968), and Corazon del Tiempo (2008), the author uses the term 'political conflict' to refer to those violent disturbances, dramatic periods of confrontation, injury and death, which characterize particular historical events involving state and non-state actors that may have a finite duration, but have a long-lasting legacy on the nation. These conflicts have been an important component of Mexican film since its inception and include studio productions, documentaries, and independent films.

Aesthetic and political representation are often treated separately, but this book argues that film offers a unique perspective through which to understand the dangers to equality and freedom that lurk in representative politics. The potential problems of representative democracy have long been debated: does it cultivate apathy and discourage citizen participation? What does it mean to be faithfully or well represented in a democracy? And how can appropriate, meaningful representation be achieved? Here, these questions are addressed from a new perspective. Representation, Joshua Foa Dienstag argues, can create the illusion of freedom and reciprocity in place of the real thing, and in both cinema and politics, what gives us pleasure is not the same as what secures or supports our existence as free and equal citizens. As this book shows, there are political dangers not visible within the current debates around democratic representation, dangers we can better understand and help to minimize by considering the way that human beings interact, emotionally, with their filmic representations. Dienstag looks at a series of films that directly confront issues of representation (Her, Blade Runner, The Man Who Shot Liberty Valance, Melancholia, and the Up documentary series) to diagnose these hazards and consider how best to respond to them. Each chapter looks at a specific film as emblematic of a different conception or problem of representation often ignored by mainstream political debates (such as reciprocity, happiness, boundaries, evil) to show that the relationship between representation and freedom is fraught with tension. This book continues Dienstag's earlier groundbreaking work on philosophical pessimism, understood not as something despairing, but as a rejection of the idea that these necessary tensions can be cured. Ultimately, Dienstag seeks to defend a kind of pessimistic politics that might produce a better sort of democratic representation than what we have today.

Running and Clicking examines how Future Narratives push against the confines of their medium: Studying Future Narratives in movies, interactive films, and other electronic media that allow for nodes, this volume demonstrates how the dividing line between film and game is progressively dissolved. Focused on traditional mass media, transitional media, and new media, it also touches on transmedial storytelling and virtual reality and offers a discussion of the political power of the imaginary and the twilight of Future Narratives in the post-human hegemony of the simulated real.

"Dangerous Curves: Action Heroines, Gender, Fetishism, and Popular Culture" addresses the conflicted meanings associated with the figure of the action heroine as she has evolved in various media forms since the late 1980s. Jeffrey A. Brown discusses this immensely popular character type as an example of, and challenge to, existing theories about gender as a performance identity. Her assumption of heroic masculine traits combined with her sexualized physical depiction demonstrates the ambiguous nature of traditional gender expectations and indicates a growing awareness of more aggressive and violent roles for women.

The excessive sexual fetishism of action heroines is a central theme throughout. The topic is analyzed as an insight into the transgressive image of the dominatrix, as a refection of the shift in popular feminism from second-wave politics to third-wave and post-feminist pleasures, and as a form of patriarchal backlash that facilitates a masculine fantasy of controlling strong female characters. Brown interprets the action heroine as a representation of changing gender dynamics that balances the sexual objectification of women with progressive models of female strength. While the primary focus of this study is the action heroine as represented in Hollywood film and television, the book also includes the action heroine's emergence in contemporary popular literature, comic books, cartoons, and video games.

Exciting new critical perspectives on popular Italian cinema including melodrama, poliziesco, the mondo film, the sex comedy, missionary cinema and the musical. The book interrogates the very meaning of popular cinema in Italy to give a sense of its complexity and specificity in Italian cinema, from early to contemporary cinema.

Hotbeds of Licentiousness is the first substantial critical engagement with British pornography on film across the 1970s, including the "Summer of Love," the rise and fall of the Permissive Society, the arrival of Margaret Thatcher, and beyond. By focusing on a series of colorful filmmakers whose work, while omnipresent during the 1970s, now remains critically ignored, author Benjamin Halligan discusses pornography in terms of lifestyle aspirations and opportunities which point to radical changes in British society. In this way, pornography is approached as a crucial optic with which to consider recent cultural and social history.

- provides a new perspective in understanding our relationship with death, mourning and recovery - the topic of traumatic grief is timely and of popular interest to Jungians

"Masculine Jealousy and Contemporary Cinema" provides new insights into the relationship between masculinity and jealousy through the study of representations of male jealousy in contemporary Hollywood cinema. It argues that male jealousy has played a key role in the psycho-cultural shaping of Western masculinities and male fantasy, and this is explored through case studies of films and their reception in the press. The book will interest graduates, postgraduates and researchers exploring theories of masculinity and jealousy, cinematic theories of representation, stardom and spectatorship.

"Genre in Asian Film and Television takes a dynamic approach to the study of Asian screen media previously under-represented in academic writing. It combines historical overviews of developments within national contexts with detailed case studies on the use of generic conventions and genre hybridity in contemporary films and television programmes"--

Shakespeare's plays were immensely popular in their own day - so why do we refuse to think of them as mass entertainment? In Pleasing Everyone, author Jeffrey Knapp opens our eyes to the uncanny resemblance between Renaissance drama and the incontrovertibly mass medium of Golden-Age Hollywood cinema. Through fascinating explorations of such famous plays as Hamlet, The Roaring Girl, and The Alchemist, and such celebrated films as Citizen Kane, The Jazz Singer, and City Lights, Knapp challenges some of our most basic assumptions about the relationship between art and mass audiences. Above all, Knapp encourages us to resist the prejudice that mass entertainment necessarily simplifies and cheapens whatever it touches. As Knapp shows, it was instead the ceaseless pressure to please everyone that helped generate the astonishing richness and complexity of Renaissance drama as well as of Hollywood film.

Class, Crime and International Film Noir argues that, in its postwar, classical phase, this dark variant of the crime film was not just an American phenomenon. Rather, these seedy tales with their doomed heroes and heroines were popular all over the world including France, Britain, Italy and Japan.

The Gothic tradition continues to excite the popular imagination. John C. Tibbetts presents interviews and conversations with prominent novelists, filmmakers, artists, and film and television directors and actors as they trace the Gothic mode across three centuries, from Mary Shelley's Frankenstein, through H.P. Lovecraft, to today's science fiction, goth, and steampunk culture. H. P. Lovecraft, Stephen King, Ray Bradbury, Robert (Psycho) Bloch, Chris (The Polar Express) Van Allsburg, Maurice Sendak, Gahan Wilson, Ray Harryhausen, Christopher Reeve, Greg Bear, William Shatner, and many more share their worlds of imagination and terror.

Alejandro Jodorowsky is a theatre director, writer of graphic novels and comics, novelist, poet, and an expert in the Tarot. He is also an auteur filmmaker who garnered attention with his breakthrough film El Topo in 1970. He has been called a "cult" filmmaker, whose films are surreal, hallucinatory, and provocative. The Transformative Cinema of Alejandro Jodorowsky explores the ways in which Jodorowsky's films are transformative in a psychologically therapeutic way. It also examines his signature style, which includes the symbolic meaning of various colors in which he clothes his actors, the use of his own family members in the films, and his casting of himself in leading roles. This total involvement of himself and his family in his auteur films led to his psycho-therapeutic theories and practices: metagenealogy and psychomagic. This book is the only the second book in the English language in print that deals with all of Jodorowsky's films, beginning with his earliest mime film in 1957 and ending with his 2019 film on psychomagic. It also connects his work as a writer and therapist to his films, which themselves attempt to obliterate the line between fantasy and reality.

Italian Americans on Screen: Challenging the Past, Re-Theorizing the Future reconsiders Robert Casillo's definition of Italian-American cinema as "appl[ying] to works by Italian-American directors who treat Italian-American subjects" to expand this classification. Contributors situate Italian-American cinema and media within the contemporary and intersectional debates about ethnic identity, including race, class, gender, and sexuality studies. This book links past scholarship to theoretical underpinnings with new hermeneutical approaches in television and film to establish new interpretations concerning Italian Americans on screen. Scholars of film studies, media studies, cultural studies, and sociology will find this book particularly useful.

This book is about poison and poisonings; it explores the facts, fears and fictions that surround this fascinating topic. Poisons attract attention because they are both dangerous and hard to discover. Secretive and invisible, they are a challenging object of representation. How do science studies, literature, and especially film-the medium of the visible-explain and show what is hidden? How can we deal with uncertainties emerging from the ambivalence of dangerous substances? These considerations lead the editors of this volume to the notion of "precarious identities" as a key discursive marker of poisons and related substances. This book is unique in facilitating a multi-faceted conversation between disciplines. It draws on examples from historical cases of poisoning; figurations of uncertainty and blurred boundaries in literature; and cinematic examples, from early cinema and arthouse to documentary and blockbuster. The contributions work with concepts from gender studies, new materialism, post-colonialism, deconstructivism, motif studies, and discourse analysis.

The movies that document American history during the interwar years still hold relevance today. While we may be put off by the corny sentimentality popular at the time, we feel attracted, despite our 1990s veneer of sophistication, to healthy portions of unadulterated American spirit. Americans resist encumbering themselves with political labels, Kelley asserts, content to remain simultaneously fragmented between elitism and populism, isolationism and interventionism even today, yet remain somehow united by a fundamental essence they can't quite define but readily recognize as the American can-do attitude. Using the unique vantage point of eight classic American movies--Mr. Smith Goes to Washington, Magnificent Ambersons, Gabriel Over the White House, Citizen Kane, Casablanca All Quiet on the Western Front, Daily Bread, and The Fountainhead--Kelley and her colleagues explore the political ideologies thrumming through the American psyche. The stock market crash and ensuing depression proved a defining experience. For the first time, the national psyche was sent careening toward alien political ideologies; the seductiveness of communism and fascism took hold in the wreckage wrought by the Depression. American foreign policy likewise fluctuated from the isolationist stance adopted after fighting the "war to end all wars" to an interventionist response to the intensifying pressure to vanquish communist and fascist bullies. Students, scholars, and the general public will find intriguing insights on a period of national catastrophe and triumph.

This timely study breaks new ground in exploring how recent film and television horror texts articulate a female rite of passage, updating the cautionary concerns found in fairy tales of the past, particularly in warning against predatory men, treacherous females and unhappy family situations.

"An exploration of the social significance of Shrek from a variety of theoretical perspectives, this book pursues two different, yet intertwined objectives. The first is to present Shrek as pedagogical tool that could be usefully employed in a number of different disciplines. Shrek is approached from a political science angle, a sociological perspective, and applied to the tenets of evolutionary psychology. The second objective is concerned with outlining some of the ways in which Shrek is actively bound up with various aspects of social reality--such as capitalism, power relations, inequality, rule and resistance. This book analyzes the green ogre and his companions in a way that is entertaining as well as informative"--

This book examines how Italian Americans have been represented in cinema, from the depiction of Italian migration in New Orleans in the 1890s (Vendetta) to the transition from first- to second-generation immigrants (Ask the Dust), and from the establishment of the stereotype of the Italian American gangster (Little Caesar, Scarface) to its re-definition (Mean Streets), along with a peculiar depiction of Italian American masculinity (Marty, Raging Bull). For many years, Italian migration studies in the United States have commented on the way cinema contributed to the creation of an identifiable Italian American identity. More recently, scholars have recognized the existence of a more nuanced plurality of Italian American identities that reflects social and historical elements, class backgrounds, and the relationship with other ethnic minorities. The second part of the book challenges the most common stereotypes of Italian Americanness: food (Big Night) and Mafia, deconstructing the criminal tropes that have contributed to shaping the perception of Italian-American mafiosi in The Funeral, Goodfellas, Donnie Brasco, and the first two chapters of the Godfather trilogy. At the crossroads of the fields of Italian Culture, Italian American Culture, Film Studies, and Migration Studies, Italian Americans in Film is written not only for undergraduate and graduate students but also for scholars who teach courses on Italian American Cinema and Visual Culture.