A one-of-a-kind miniature replica of the Hogwarts School of Witchcraft and Wizardry for fans and collectors of Harry Potter and J. K. Rowling’s Wizarding World. Kit includes:

- 4 x 3-inch molded collectible replica of the Hogwarts School of Witchcraft and Wizardry, with flickering light feature

- 16-page sticker book with 8 Hogwarts-related full-color photographs from the Harry Potter films

"Brief on brilliant cocktail conversation? This reader-friendly collection will help you apply Foucault to Keanu, Derrida to Spielberg, Macbeth to Blair Witch, and pull it off with panache. Stimulating in small doses, its 34 essays deconstruct 1990s cinema, and the decade too, with intellectual vigor and a wry sense of humor."
--"Variety"

"The End of Cinema As We Know It is at once academic and popular in the best sense of both terms-intelligent and erudite critical analysis conveyed through accessible and gracefully written prose. Just like the cinema of the '90s itself, this collection of thirty-four smart and sprightly essays refuses to be bound by traditional categories. Free from the homogenized consensus that too often results from the supposed advantage of historical distance, these broadly ranging essays on a period still fresh in our memory necessarily pose more questions than they answer. But they are good provocative questions and it is precisely this spirit of free-wheeling inquiry and fearless speculation that makes the book so enjoyable to read."
--Robert Rosen, Dean of the UCLA School of Theater, Film, and Television

""The End of Cinema" provides an enjoyable reading with a good balance of academic and popular qualities."
--American Studies International, June 2002

"The End of Cinema as We Know It: American Cinema in the Nineties, is an encouraging step in a new direction. In it, we find an impressive assembly of established as well as younger scholars grappling both with pop-film and industry concerns."
--"Cineaste"

Almost half a century ago, Jean-Luc Godard famously remarked, "I await the end of cinema with optimism." Lots of us have beenwaiting forand wondering aboutthis prophecy ever since. The way films are made and exhibited has changed significantly. Films, some of which are not exactly "films" anymore, can now be projected in a wide variety of wayson screens in revamped high tech theaters, on big, high-resolution TVs, on little screens in minivans and laptops. But with all this new gear, all these new ways of viewing films, are we necessarily getting different, better movies?

The thirty-four brief essays in The End of Cinema as We Know It attend a variety of topics, from film censorship and preservation to the changing structure and status of independent cinemafrom the continued importance of celebrity and stardom to the sudden importance of alternative video. While many of the contributors explore in detail the pictures that captured the attention of the nineties film audience, such as "Jurassic Park," "Eyes Wide Shut," "South Park: Bigger, Longer and Uncut," "The Wedding Banquet," "The Matrix," "Independence Day," "Gods and Monsters," "The Nutty Professor," and "Kids," several essays consider works that fall outside the category of film as it is conventionally definedthe home "movie" of Pamela Anderson and Tommy Lee's honeymoon and the amateur video of the LAPD beating of Rodney King.

Examining key films and filmmakers, the corporate players and industry trends, film styles and audio-visual technologies, the contributors to this volume spell out the end of cinema in terms of irony, cynicism and exhaustion, religious fundamentalism and fanaticism, and the decline of what we once used to call film culture.

Contributors include: Paul Arthur, Wheeler Winston Dixon, Thomas Doherty, Thomas Elsaesser, KrinGabbard, Henry Giroux, Heather Hendershot, Jan-Christopher Hook, Alexandra Juhasz, Charles Keil, Chuck Klienhans, Jon Lewis, Eric S. Mallin, Laura U. Marks, Kathleen McHugh, Pat Mellencamp, Jerry Mosher, Hamid Naficy, Chon Noriega, Dana Polan, Murray Pomerance, Hillary Radner, Ralph E. Rodriguez, R.L. Rutsky, James Schamus, Christopher Sharrett, David Shumway, Robert Sklar, Murray Smith, Marita Sturken, Imre Szeman, Frank P. Tomasulo, Maureen Turim, Justin Wyatt, and Elizabeth Young.

A comprehensive history of how the conflicts and balances of power in the Maoist revolutionary campaigns from 1951 to 1979 complicated and diversified the meanings of films, this book offers a discursive study of the development of early PRC cinema.

This collection brings together international experts on the cinema of migration and diaspora in postcolonial and postnational Europe. It offers a comprehensive theoretical and analytical discussion of a highly productive creative sector and documents the spectrum of this area of exploration in European, transnational and World Cinema studies.

Born in 1916 in La Jolla, California, Gregory Peck took up acting in college on a lark that would lead to a career. In his early years, he appeared in a series of summer stock engagements and Broadway shows. He became a star within a year after arriving in Hollywood during World War II, and he won an Academy Award nomination for his second film. From the 1940s to the present, he has played some of film's most memorable and admired characters. This volume provides complete information about Gregory Peck's work in film, television, radio, and the stage. Entries are included for all of his performances, with each entry providing cast and credit information, a plot summary, excerpts from reviews, and critical commentary. A biography and chronology highlight significant events in his life, while a listing of his honors and awards summarizes the recognition he has received over the years. For researchers seeking additional information, the book includes descriptions of special collections holding material related to Peck's work, along with an extensive bibliography of books and articles.

In New Approaches to Contemporary Adaptation, editor Betty Kaklamanidou defiantly claims that "all films are adaptations". The wide-ranging chapters included in this book highlight the growing and evolving relevance of the field of adaptation studies and its many branding subfields. Armed with a wealth of methodologies, theoretical concepts, and sophisticated paradigms of case-studies analyses of the past, these scholars expand the field to new and exciting realms. With chapters on data, television, music, visuality, and transnationalism, this anthology aims to complement the literature of the field by asking answers to outstanding questions while proposing new ones: Whose stories have been adapted in the last few decades? Are films that are based on "true stories""simply adaptations of those real events? How do transnational adaptations differ from adaptations that target the same national audiences as the texts they adapt? What do long-running TV shows actually adapt when their source is a single book or novel? To attempt to answer these questions, New Approaches to Contemporary Adaptation is organized in three parts. Part 1, "External Influences on Adaptation", delves into matters surrounding film adaptations without primarily focusing on textual analysis of the final cinematic product. Part 2, "Millennial TV and Franchise Adaptations", demonstrates that the contemporary television landscape has become fruitful terrain for adaptation studies. Part 3, "ElasTEXTity and Adaptation", explores different thematic approaches to adaptation studies and how adaptation extends beyond traditional media. Spanning media and the globe, contributors complement their research with tools from sociology, psychoanalysis, gender studies, race studies, translation studies, and political science. Kaklamanidou makes it clear that adaptation is vital to sharing important stories and mythologies, as well as passing knowledge to new generations. The aim of this anthology is to open up the field of adaptation studies by revisiting the object of analysis and proposing alternative ways of looking at it. Scholars of cultural, gender, film, literary, and adaptation studies will find this collection innovative and thought-provoking.

Who Framed Roger Rabbit emerged at a nexus of people, technology, and circumstances that is historically, culturally, and aesthetically momentous. By the 1980s, animation seemed a dying art. Not even the Walt Disney Company, which had already won over thirty Academy Awards, could stop what appeared to be the end of an animation era. To revitalize popular interest in animation, Disney needed to reach outside its own studio and create the distinctive film that helped usher in a Disney Renaissance. That film, Who Framed Roger Rabbit, though expensive and controversial, debuted in theaters to huge success at the box office in 1988. Unique in its conceit of cartoons living in the real world, Who Framed Roger Rabbit magically blended live action and animation, carrying with it a humor that still resonates with audiences. Upon the film's release, Disney's marketing program led the audience to believe that Who Framed Roger Rabbit was made solely by director Bob Zemeckis, director of animation Dick Williams, and the visual effects company Industrial Light & Magic, though many Disney animators contributed to the project. Author Ross Anderson interviewed over 140 artists to tell the story of how they created something truly magical. Anderson describes the ways in which the Roger Rabbit characters have been used in film shorts, commercials, and merchandising, and how they have remained a cultural touchstone today.

"Hamlet" has inspired four outstanding film adaptations that continue to delight a wide and varied audience and to offer provocative new interpretations of Shakespeare's most popular play. "Cinematic Hamlet" contains the first scene-by-scene analysis of the methods used by Laurence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda to translate Hamlet into highly distinctive and remarkably effective films. Applying recent developments in neuroscience and psychology, Patrick J. Cook argues that film is a medium deploying an abundance of devices whose task it is to direct attention away from the film's viewing processes and toward the object represented. Through careful analysis of each film's devices, he explores the ways in which four brilliant directors rework the play into a radically different medium, engaging the viewer through powerful instinctive drives and creating audiovisual vehicles that support and complement Shakespeare's words and story. "Cinematic Hamlet" will prove to be indispensable for anyone wishing to understand how these films rework Shakespeare into the powerful medium of film.

Inspired by Baudelaire's art criticism and contemporary theories of emotions, and developing a new aesthetic approach based on the idea that memory and imagination are strongly connected, Lombardo analyzes films by Scorsese, Lynch, Jarmusch and Van Sant as imaginative uses of the history of cinema as well as of other media.

Postmodern Metanarratives investigates the relationship between cinema and literature by analyzing the film Blade Runner as a postmodern work that constitutes a landmark of cyberpunk narrative and establishes a link between tradition and the (post)modern.

Indian cinematic traditions have always relied on eclectic ways of figuration that combine signs and affects of desire and abomination. That is, incarnations often emerge at critical interfaces between good/bad, Indian/western, self/other, virtue/vice, myth/reality, and so on. Such figures are products of discontinuous assembling processes that cut through dyadic arrangements and pass the same character/body/identity via different, often contradictory, moral economies and sign systems. These many-armed, complex modes of figuration carry a special tenacity in Indian cinema for many reasons, but perhaps most importantly because the template of classical realist narration usually has had limited authority over its proceedings. Perpetually caught between the home and the world, between elation and agony, such cinematic entities carry in them the diverse, contending energies of the overall assembling arena of Indian modernity itself. The essays in this volume consider the issue of figuration in the broadest sense, including formations that are supra-individual, animalistic, divine and machinic.

Come round to Louis Theroux's house where the much-loved TV documentary-maker, podcaster and bestselling author of Gotta Get Theroux This finds himself in unexpected danger . . . Like millions of others, Louis' plans were mothballed by the onset of Covid. Unable to escape to the porn sets, prisons and maximum-security psychiatric units that are his usual journalistic beat, he began reporting on a location even more full of pitfalls and hostile objects of inquiry: his own home during a pandemic. Theroux the Keyhole is an honest, hilarious and ultimately heartwarming diary of the weirdness of family life in Covid World. A wife intolerant of his obsession with Joe Wicks' daily workouts. Two teenage sons, inseparable from their videogames, for whom he is increasingly 'cringe'. A five-year-old happily spamming out videos on his own new TikTok account while on holiday with his oblivious family. Louis also describes how he launches his podcast, Grounded, finally gets to the US to film a new Joe Exotic documentary and aims his sights on the latest incarnation of the far right in a world becoming radicalized by social media. Theroux the Keyhole is Louis at his insightful best, as he faces unforeseen new challenges and wonders why it took a pandemic for him to learn that what really matters in life is right in front of him.

The life and career of Henry Fonda, one of Hollywood's greatest stars, are detailed in this bio-bibliography that places equal emphasis on the actor's professional and private lives. The reference provides a complete and detailed guide to Fonda's films, television, theater, radio, recordings, awards, video releases, and a comprehensive bibliography. A detailed index makes it easy to look up every significant actor and filmmaker with whom Fonda worked. Also included are filmographies of Jane and Peter Fonda.

This collection focuses on children and adolescents in Latin American and Spanish cinema from 1960 to the present as witnesses and objects of the spectatorial gaze. The carefully chosen essays survey the representation of the past and the definition of gender and class identity as experienced by young protagonists in films. This volume offers an interdisciplinary approach to the study of Latin American and Spanish film as well as gender studies. Some of the questions addressed in this collection are: what do children and adolescents in Latin American and Spanish film see and how are they seen?

The Sounds of Silent Films is a unique collection of investigatory and theoretical essays that, for the first time, unite up-to-date research on the complex historical performance practices of silent film accompaniment with in-depth analyses of relevant case studies.

This book discusses British cinema's representation of the Great War during the 1920s. It argues that popular cinematic representations of the war offered surviving audiences a language through which to interpret their recent experience, and traces the ways in which those interpretations changed during the decade.

Once called the ""perfect example of a homeless waif"" by director Cecil B. DeMille, Junior Coghlan has been acting in movies for over 70 years. Perhaps best remembered for his role as Billy Batson in the Republic serial The Adventures of Captain Marvel, he has worked with many of the legends of Hollywood, such as Charlie Chaplin, Mickey Rooney, Jackie Cooper, and Shirley Temple. Also included are the stories of Coghlan's 23-year naval service, where he enlisted as an aviator during World War II and eventually rose to the rank of Lieutenant Commander. Included are the stories of his eight years as the naval liaison on such films as The Caine Mutiny and Mr. Roberts. A filmography traces his career.

This title recaptures the lost history of the physical and moral perils that faced audiences at American movie theatres during the first fifty years of the cinema. During the first fifty years of the American cinema, the act of going to the movies was a risky process, fraught with a number of possible physical and moral dangers. Film fires were rampant, claiming many lives, as were movie theatre robberies, which became particularly common during the Great Depression. Labor disputes provoked a large number of movie theatre bombings, while low-level criminals like murderers, molesters, and prostitutes plied their trades in the darkened auditoriums. That was all in addition to the spread of disease, both real (as in the case of influenza) and imagined ("movie eyestrain"). Audiences also confronted an array of perceived moral dangers. Blue Laws prohibited Sunday film screenings, though theatres ignored them in many areas, sometimes resulting in the arrests of entire audiences. Movie theatre lotteries became another problem, condemned by politicians and clergymen throughout America for being immoral gambling. "The Perils of Moviegoing in America: 1896-1950" provides the first history of the many threats that faced film audiences, threats which claimed hundreds, if not thousands, of lives.