The animated science-fiction adventures of Rick and Morty are irreverent, shocking, and hilarious--from the cynical and rapid-fire one liners, to the grotesquely and endearing character designs. Now, take a deep trans-dimensional dive into the creation of these many insane universes with The Art of Rick and Morty!This new book is a must-have, not only for followers of the series, but for fans of animation as well! Featuring intimate commentary from the show's creators accompanying a vast collection of process, concept, and production art, this volume offers a tantalizing exploration of one of the most outlandish and beloved shows on television. Don't miss your chance to see the amazing art that goes into creating this twisted and fantastic Adult Swim series!Exclusive never before seen concept art from the making of the hit animated series, Rick and Morty! The comprehensive companion to the hit series, Rick and Morty!The art book that Rick and Morty fans have been waiting for!

Revised and updated to include The Boy And The Heron.

The animations of Japan's Studio Ghibli are among the most respected in the movie industry. Their films rank alongside the most popular non-English language films ever made, with each new release a guaranteed box office hit. The studio's founders, Hayao Miyazaki and the late Isao Takahata, have created timeless masterpieces. Their films are distinctly Japanese but the themes are universal: humanity, community and a love for the environment.

Studio Ghibli outlines the history of the studio and explores the early output of its founders. It examines all the studio's major works including Laputa: Castle in the Sky, Grave of the Fireflies, My Neighbour Totoro, Kiki's Delivery Service, Only Yesterday, Porco Rosso, Pom Poko, Whisper of the Heart, Princess Mononoke and Howl's Moving Castle, as well as the Oscar-winning Spirited Away.

Also included are the more recent animations: Hayao Miyazaki's Oscar-nominated masterpiece The Wind Rises, Isao Takahata's The Tale of Princess Kaguya, Goro Miyazaki's Earwig and the Witch and Hayao Miyazaki's latest box office success, The Boy and the Heron, which won a BAFTA, Golden Globe & Oscar.

In The Phenomenology of Religious Belief, the renowned philosopher Michael J. Shapiro investigates how art - and in particular literature and film - can impact upon both traditional interpretations and critical studies of religious beliefs and experiences. In doing so, he examines the work of prolific and award-winning writers such as Toni Morrison, Philip K. Dick and Robert Coover. By placing their work in conjunction with critical analyses of media by the likes of Ingmar Bergman and Pier Paolo Pasolini and combining it with the work of groundbreaking thinkers such as George Canguilhem, Giorgio Agamben and Slavoj Zizek, Shapiro takes a truly interdisciplinary approach to the question of how life should be lived. His assessment of phenomenological subjectivity also leads him to question the nature of political theology and extend the criticism of Pauline theology.

Many of our favorite films began as plays--some as well known as Shakespeare's "Romeo and Juliet," and some not so well known as "You've Got Mail"'s origin, a 1937 play "Parfumerie" by Miklos Laszlo. "Video Versions" identifies nearly 300 films and their theatrical origins, providing readers with an overview of the films and highlighting similarities and differences to the source plays. Perfect for teachers, students, and anyone interested in theater and film, it is the most complete resource available for video versions of plays.

Each entry provides: the original play's title, author, and year of publication; the name of the film, year of production, director and adapter; the main cast and the characters they play; running time and rating if available. Following a plot summary, a critical analysis provides the similarities and differences of the play and film, including character and plot changes, setting, missing or added scenes, special film techniques, and behind-the-scenes information such as who turned down or lost particular parts when the play was adapted to film. A short list of sources for further reading follows each entry. Information about contacting distributors--for obtaining the films--is included in the introduction and an extensive index completes the volume.

The definitive account of the motion picture phenomenon, E.T. the Extra-Terrestrial: The Ultimate Visual History is a must-have for fans of the beloved Steven Spielberg classic. Documenting the complete history of E.T., the book explores Spielberg's initial inspiration for the story, the challenging shoot, and the record-breaking success, as well as the film's endurance, examining the merchandising it inspired and the reasons E.T. holds a permanent place in the hearts of movie fans the world over. E.T. the Extra-Terrestrial: The Ultimate Visual History features exclusive interviews with key members of the creative team, including cast and crew. Filled with visual treasures, the book also includes rare and never-before-seen imagery from the Amblin Entertainment archives, including on-set photography, concept art, and storyboards, plus a wealth of removable insert items, such as annotated script pages, studio memos, preliminary sketches, and more. The perfect tribute to a film that defines movie magic, E.T. the Extra-Terrestrial: The Ultimate Visual History is the final word on a modern masterpiece.

Parody is the least appreciated of all film comedy genres and receives little serious attention, even among film fans. This study elevates parody to mainstream significance. A historical overview places the genre in context, and a number of basic parody components, which better define the genre and celebrate its value, are examined. Parody is differentiated from satire, and the two parody types, traditional and reaffirmation, are explained. Chapters study the most spoofed genre in American parody history, the Western; pantheon members of American Film Comedy such as The Marx Brothers, W. C. Fields, Mae West, and Laurel and Hardy; pivotal parody artists, Bob Hope and Woody Allen; Mel Brooks, whose name is often synonymous with parody; and finally, parody in the 1990s. Films discussed include Destry Rides Again (1939), The Road to Utopia (1945), My Favorite Brunette (1947), The Paleface (1948), Butch Cassidy and the Sundance Kid (1969), Blazing Saddles (1974), Young Frankenstein (1974), Hot Shots Part Deux (1993) and Scream (1996).

This examination of parody will appeal to scholars and students of American film and film comedy, as well as those interested in the specific comedians discussed and the Western genre. Gehring's work will also find a place in American pop culture studies and sociological studies of the period from the 1920s to the 1990s. The book is carefully documented and includes a selected bibliography and filmography.

BLADE RUNNER AND THE CINEMA OF PHILIP K. DICK BY JEREMY MARK ROBINSON

This book is about the films made from the fiction of Philip K. Dick, which include the classic movie Blade Runner, the Arnold Schwarzenegger actioner Total Recall, Minority Report, directed by Steven Spielberg, and 2007's Next. A thorough exploration of Blade Runner forms the core of the book, looking at the conception, production, themes and influence of the 1982 Warner Brothers film in every detail.

Philip Kindred Dick (1928-1982) was a key figure in 20th century science fiction, famous for embracing drugs and the counter-culture in his work. Dick's fiction includes The Man In the High Castle, Flow My Tears, The Policeman Said, A Scanner Darkly, The Game Players of Titan, Clan of the Alphane Moon, The Three Stigmata of Palmer Eldritch, Do Androids Dream of Electric Sheep?, Valis, The Divine Invasion, Martian Time-Slip, The Minority Report, and We Can Remember It For You Wholesale. Dick's themes included perception and reality, drugs, state control, global capitalism, surveillance, and paranoia.

Four films are explored here: Blade Runner, Total Recall, Minority Report and A Scanner Darkly (in a chapter by Thomas Christie). The other films based on Phil Dick's fiction, which are discussed in the final chapter, include Confessions d'un Barjo (a French movie based on Confessions of a Crap Artist), a Canadian film, Screamers, based on Dick's Second Variety story, Paycheck, directed by John Woo, Next (Lee Tamahori, 2007), based on The Golden Man, and Impostor (Gary Fleder, 2002).

The more recent cycle of Philip Kindred Dick movies began with Minority Report and Impostor in 2002 - Paycheck and Next followed in 2003 and 2007, and The Owl In Daylight, a possible film about Dick, and Radio Free Alemuth (2008). A sequel to Screamers was released in 2009, again shooting in Canada, with Peter Weller starring.

Fully illustrated, with a newly revised text for this edition. Bibliography, filmography and notes. ISBN 971861713568.

www.crmoon.com

FROM THE FOREWORD

In this comprehensive book, Jeremy Robinson explores the themes of Blade Runner with his usual insight and knowledge of visual and narrative film. Robinson presents a critical and objective outside viewpoint. He tries to be balanced, and to offer criticism as well as praise. It is ultimately important to note that he is writing about art, not the artist, and he admires Ridley Scott as much as I do.

Blade Runner has been analyzed, debated, dissected and discussed extensively over the last 25 years and I hope you find Jeremy Robinson's exploration into Ridley Scott's seminal sci-fi film noir masterpiece to be innovative and glowing with new ideas that stimulate your imagination and jump start your synapses.

Sheena Duggal, Visual Effects Supervisor, Sony Pictures Imageworks

Certain films seem to encapsulate perfectly the often abstract ethical situations that confront the media, from truth-telling and sensationalism to corporate control and social responsibility. Using these movies--including "Ace in the Hole," "All the President's Men," "Network," and "Twelve Angry Men"--as texts, authors Howard Good and Michael Dillon demonstrate that, when properly framed and contextualized, movies can be a powerful lens through which to examine media practices.

Moreover, cinema can present human moral conduct for evaluation and analysis more effectively than a traditional case study can. By presenting ethical dilemmas and theories within a dramatic framework, "Media Ethics Goes to the Movies" offers a unique perspective on what it means for media professionals to be both technically competent and morally informed.

This includes a brilliant line-up of international contributors that examine the implications of the portrayals of Nazis in low-brow culture and that culture's re-emergence today. "Nazisploitation!" examines past intersections of National Socialism and popular cinema and the recent reemergence of this imagery in contemporary visual culture. In the late 1960s and early 1970s, films such as "Love Camp 7" and "Ilsa, She-Wolf of the SS" introduced and reinforced the image of Nazis as master paradigms of evil in what film theorists deem the "sleaze" film. More recently, Tarantino's "Inglourious Basterds", as well as video games such as "Call of Duty: World at War", have reinvented this iconography for new audiences. In these works, the violent Nazi becomes the hyperbolic caricature of the "monstrous feminine" or the masculine sadist. Power-hungry scientists seek to clone the Fuhrer, and Nazi zombies rise from the grave. The history, aesthetic strategies, and political implications of such translations of National Socialism into the realm of commercial, low brow, and "sleaze" visual culture are the focus of this book. The contributors examine when and why the Nazisploitation genre emerged as it did, how it establishes and violates taboos, and why this iconography resonates with contemporary audiences.

Cinema is often perceived as a metropolitan medium - an entertainment product of the big city and for the big city. Yet film exhibitors have been bringing moving pictures to towns and villages since the early days of itinerant shows. This volume presents for the first time an exploration of the social, cultural and economic dynamics of film culture in the European countryside. Spanning more than a century of film exhibition from the early twentieth-century to the present day, Cinema Beyond the City examines the role that movie-going has played in small-town and rural communities across Europe. It documents an amazing diversity of sites and situations that are relevant for understanding historical and current patterns in film consumption. In chapters written by leading scholars and young academics, interdisciplinary research is used to address key questions about access, economic viability, audience behaviour, film programming and the cultural flows between cities and hinterlands. With its wide range of regional studies and innovative methodological approaches, the collection will be of interest not only to film historians, but also to scholars in the fields of urban history, rural studies and cultural geography.

Through a detailed study of the circulation of European silent film in Australasia in the early twentieth century, this book challenges the historical myopia that treats Hollywood films as having always dominated global film culture. Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history-and its implications for cross-cultural exchange-was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, bringing it all vividly to life. Making ground-breaking use of digitized Australian and New Zealand newspapers, the author reconstructs the distribution and exhibition of European silent films in the Antipodes, along the way incorporating compelling biographical sketches of the ambitious pioneers of the Australasian cinema industry. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.

The pervasive image of New York's 42nd Street as a hub of sensational thrills, vice and excess, is from where "grindhouse cinema," the focus of this volume, stemmed. It is, arguably, an image that has remained unchanged in the mind's eye of many exploitation film fans and academics alike. Whether in the pages of fanzines or scholarly works, it is often recounted how, should one have walked down this street between the 1960s and the 1980s, one would have undergone a kaleidoscopic encounter with an array of disparate "exploitation" films from all over the world that were being offered cheaply to urbanites by a swathe of vibrant movie theatres. The contributors to Grindhouse: Cultural Exchange on 42nd Street, and Beyond consider "grindhouse cinema" from a variety of cultural and methodological positions. Some seek to deconstruct the etymology of "grindhouse" itself, add flesh to the bones of its cadaverous history, or examine the term's contemporary relevance in the context of both media production and consumerism. Others offer new inroads into hitherto unexamined examples of exploitation film history, presenting snapshots of cultural moments that many of us thought we already knew.

In the late 1950s, Mike Nichols (1931-2014) and Elaine May (b. 1932) soared to superstar status as a sketch comedy duo in live shows and television. After their 1962 breakup, both went on to long and distinguished careers in other areas of show business - mostly separately, but sporadically together again. In Nichols and May: Interviews, twenty-seven interviews and profiles ranging over more than five decades tell their stories in their own words. Nichols quickly became an A-list stage and film director, while May, like many women in her field, often found herself thwarted in her attempts to make her distinctive voice heard in projects she could control herself. Yet, in recent years, Nichols's work as a filmmaker has been perhaps unfairly devalued, while May's accomplishments, particularly as a screenwriter and director, have become more appreciated, leading to her present widespread acceptance as a groundbreaking female artist and a creative genius of and for our time. Nichols gave numerous interviews during his career, and editor Robert E. Kapsis culled hundreds of potential selections to include in this volume the most revealing and those that focus on his filmmaking career. May, however, was a reluctant interview subject at best. She often subverted the whole interview process, producing instead a hilarious parody or even a comedy sketch - with or without the cooperation of the sometimes-oblivious interviewer. With its contrasting selection of interviews conventional and oddball, this volume is an important contribution to the study of the careers of Nichols and May.

This fascinating book begins with a new definition of the gangster film and a challenging exploration of the Hong Kong and Hollywood screen traditions.Illuminates the way gangster films deal with the ambiguities of modern life, correcting the notion that this genre is inconsequential sensationalism Contends that both American and Hong Kong gangster films are against-the-grain reactions to the central fable of modern democracies that promise immigrant (and other) outsiders that they can become social insiders Clarifies crucial and fascinating differences between American and Hong Kong approaches to enjoining the discussion of immigrant histories by placing them in counterpoint with each otherDraws on a range of American films, ranging from "Public Enemy" and "Scarface" to "Gangs of New York," "Goodfellas," and "The Godfather" Explores a number of Hong Kong's 21st century gangster films, including Andrew Lau's great trilogy, " Infernal Affairs, " and" Election "and" Election 2, " directed by Hong Kong auteur Johnnie To Concludes with an exclusive interview with "The Sopranos'" creator, David Chase

The novel and the film are two modes of representation based on different aesthetic tools, but both are capable of articulating narrative discourses. In "Spanish Film and the Postwar Novel," author Norberto Minguez-Arranz offers a comparative analysis of the methods and mechanisms with which the novel and the film build their stories. A theoretical framework that that puts into perspective such concepts as specificity, representation, and point of view gives way to a comparative study of five Spanish postwar novels and their respective film adaptations: "The Family of Pascual Duarte," "Time of Silence," "The Hive," "El Bosque Animado," and "Nuevas Amistades."

Revealing the existence of cinematic features of the novel and literary features of the cinema, the author examines the ways in which this interdependence has become a permanent aspect of both arts, with mutual influences and a great deal of nonexclusivity of properties. By using this particular time and place as his locus of analytical thought, Minguez-Arranz provides an invaluable examination of two of this century's major creative forms.

The author challenges the neglect of the 1970s in studies on teen film and youth culture by locating a number of subversive and critical narratives. Taking a closer look at teen film in the 1970s, "New American Teenagers" uncovers previously marginalized voices that rework the classically male, heterosexual American teenage story. While their parents' era defined the American teenager with the romantic male figure of James Dean, this generation of adolescents offers a dramatically altered picture of transformed gender dynamics, fluid and queered sexuality, and a chilling disregard for the authority of parent, or more specifically, patriarchal culture. Films like "The Rocky Horror Picture Show", "Halloween", and "Badlands" offer a reprieve from the 'straight' developmental narrative, including in the canon of study the changing definition of the American teenager. Barbara Brickman is the first to challenge the neglect of this decade in discussions of teen film by establishing the subversive potential and critical revision possible in the narratives of these new teenage voices, particularly in regards to changing notions of gender and sexuality.

Writer, producer, and director Wes Craven has successfully tapped into the horror vein for over forty years, serving up scary, funny, cutting-edge thrillers that have become classics in the genre. His films have been both critical and commercial successes, most notably Nightmare on Elm Street, which spawned a series of sequels and made Craven (and his creation, Freddy Kruger) an international sensation. He then created a second indelible series in the horror movie trope with Scream. In Screams & Nightmares, Brian J. Robb examines Craven's entire career, from his low-budget beginnings to his most recent box office hits, from the banned thriller The Last House on the Left and the cult classic The Hills Have Eyes to the outrageous Shocker and The People Under the Stairs. Through exclusive interviews with Craven, Robb provides in-depth accounts of the making of each of the films - including the final instalments of the Scream series - Craven's foray into writing novels, and his numerous television projects.

The Danish director Lars von Trier is undoubtedly one of the world's most important and controversial filmmakers, and arguably so because of the depiction of women in his films. He has been criticized for subjecting his female characters to unacceptable levels of violence or reducing them to masochistic self-abnegation, as with Bess in Breaking the Waves, 'She' in Antichrist and Joe in Nymphomaniac. At other times, it is the women in his films who are dominant or break out in violence, as in his adaptation of Euripides' Medea, the conclusion of Dogville and perhaps throughout Nymphomaniac. Lars von Trier's Women confronts these dichotomies head on. Editors Rex Butler and David Denny do not take a position either for or against von Trier, but rather consider how both attitudes fall short of the real difficulty of his films, which may simply not conform to any kind of feminist or indeed anti-feminist politics as they are currently configured. Using Lacanian psychoanalysis and acknowledging the work of prior scholars on the films, Lars von Trier's Women reveals hidden resources for a renewed 'feminist' politics and social practice.