The prospect of dinner and a movie is always an enticing one. Whether it is a date early on in a relationship with all the apprehension and barely contained frisson that that entails or an opportunity for a child free evening and the chance to watch a full length film of your choice without having to keep your finger on the remote to pause for toilet breaks, the combination of food and cinema is a winning one. Food is inextricably linked to all aspects of our lives, food for feasts, food to comfort, food to harm and always food to raise the sexual tension. Cinematographers know this too. So often there are dishes in a movie that deserve a mention in the credits so pivotal are they to the storyline. You only have to mention "Silence of the Lambs" for fava beans and chianti spring into the conversation and apple pie is often off or suddenly back on the menu for anyone who has recently watched American Pie for the first time. Let us get one thing straight here the dishes celebrated in this book are not physically available at the pictures. Food served in containers too large to be used as airline carryon baggage is not what this book is about. The recipes here are for those movie moments that made you step away from the popcorn bucket. Who doesn't want to slice garlic with a razor blade to create the garlicky spaghetti sauce so lovingly made in Goodfellas or jump through the screen to nibble absolutely everything in Willy Wonka's chocolate factory (including Johnny Depp although that may be just my own fantasy) and every woman on this planet wants "what she's having" in When Harry met Sally! So this is your chance, if it was eaten on screen then the recipe for it may well be in this book. Unless of course you fancy making the chilled monkey brains from Indiana Jones and the Temple of Doom in which case I suggest you still buy the book but change your dessert plans. What about a nice Apple Strudel from the Sound of Music instead?

What makes a film a teen film? And why, when it represents such powerful and enduring ideas about youth and adolescence, is teen film usually viewed as culturally insignificant? Teen film is usually discussed as a representation of the changing American teenager, highlighting the institutions of high school and the nuclear family and experiments in sexual development and identity formation. But not every film featuring these components is a teen film, and not every teen film is American. Arguing that teen film is always a story about becoming a citizen and a subject, "Teen Film" presents a new history of the genre, surveys the existing body of scholarship, and introduces key critical tools for discussing teen film. Surveying a wide range of films including "The Wild One," "Heathers," "Donnie Darko" and "Buffy the Vampire Slayer," the book's central focus is on what kind of adolescence teen film represents, and on teen film's capacity to produce new and influential images of adolescence.

"A History of Visual Culture" is a history of ideas. The recent explosion of interest in visual culture suggests the phenomenon is very recent. But visual culture has a history. Knowledge began to be systematically grounded in observation and display from the Enlightenment. Since them, from the age of industrialization and colonialism to today's globalized world, visual culture has continued to shape our ways of thinking and of interpreting the world. Carefully structured to cover a wide history and geography, "A History of Visual Culture" is divided into themed sections: Revolt and Revolution; Science and Empiricism; Gaze and Spectacle; Acquisition, Display, and Desire; Conquest, Colonialism, and Globalization; Image and Reality; Media and Visual Technologies. Each section presents a carefully selected range of case studies from across the last 250 years, designed to illustrate how all kinds of visual media have shaped our technology, aesthetics, politics and culture.

This book relates the unique experiences of Lesbian, Gay, Bisexual, Transgender and Queer/Questioning (LGBTQ+) people in Australian Pentecostal-Charismatic Christian churches. Grounded in the theoretical contributions of Michel Foucault, Judith Butler, Lewis Coser, and others, the book exposes the discursive 'battleground' over the 'truth' of sex which underlies the participants' stories. These rich and complex narratives reveal the stakes of this conflict, manifested in 'the line' - a barrier restricting out LGBTQ+ people from full participation in ministry and service. Although some participants related stories of supportive-if typically conservative-congregations where they felt able to live out an authentic, integrated faith, others found they could only leave their formerly close and supportive communities behind, 'counter-rejecting' the churches and often the faith that they felt had rejected them.

The official novelization of a forthcoming crime film, featuring movie stills and an introduction by producer Jonathan Sothcott George never meant to kill the thief, he was just defending his shop from the jacked up kids who were trying to rob him. Arrested for murder, his world is turned upside down. The next night the doorbell rings, and before George has even opened the door the gang have swarmed into his house--they beat him senseless, rape his wife, and tie them up and set fire to them. Thoughtless, feral Jimmy, George's son, has been dishonorably discharged from the Royal Marines in Afghanistan and is on his way back to London when he gets the news. It isn't long before he's on the trail of the gang who murdered his parents, exacting his own kind of chillingly brutal justice. With the police closing in and his old regiment determined to stop him from airing their dirty laundry on trial, Jimmy goes underground. His actions have created a media frenzy, London's first vigilante of the 21st century. But will his devastating course of action spell the end of the woman he loves?

"Knockout: The Boxer and Boxing in American Cinema" is the first book-length study of the Hollywood boxing film, a popular movie entertainment since the 1930s, that includes such classics as "Million Dollar Baby," "Rocky," and "Raging Bull." The boxer stands alongside the cowboy, the gangster, and the detective as a character that shaped America's ideas of manhood. Leger Grindon relates the Hollywood boxing film to the literature of Jack London, Ernest Hemingway, and Clifford Odets; the influence of ring champions, particularly Joe Louis and Muhammad Ali; and controversies surrounding masculinity, race, and sports.

"Knockout" breaks new ground in film genre study by focusing on the fundamental dramatic conflicts uniting both documentary and fictional films with compelling social concerns. The boxing film portrays more than the rise and fall of a champion; it exposes the body in order to reveal the spirit. Not simply a brute, the screen boxer dramatizes conflicts and aspirations central to an American audience's experience. This book features chapters on the conventions of the boxing film, the history of the genre and its relationship to famous ring champions, and self-contained treatments of thirty-two individual films including a chapter devoted to Raging Bull.

This book provides a corpus-led analysis of multi-word units (MWUs) in English, specifically fixed pairs of nouns which are linked by a conjunction, such as 'mum and dad', 'bride and groom' and 'law and order'. Crucially, the occurrence pattern of such pairs is dependent on genre, and this book aims to document the structural distribution of some key Linked Noun Groups (LNGs). The author looks at the usage patterns found in a range of poetry and fiction dating from the 17th to 20th century, and also highlights the important role such binomials play in academic English, while acknowledging that they are far less common in casual spoken English. His findings will be highly relevant to students and scholars working in language teaching, stylistics, and language technology (including AI).

Taking its cue from Deleuze's definition of minor cinema as one which engages in a creative act of becoming, this collection explores the multifarious ways that music has been used in the cinemas of various countries in Australasia, Africa, Latin America and even in Europe that have hitherto received little attention, with a focus on the role it has played creating, problematizing, and sometimes contesting, the nation. Deleuze's lens suits these cinemas because they are precisely not like Hollywood, and the key issue is national identity."Film Music in 'Minor' National Cinemas "addresses the relationships between film music and the national cinemas beyond Hollywood and the European countries that comprise most of the literature in the field. Broad in scope, it includes chapters that analyze the contribution of specific composers and songwriters to their national cinemas, and the way music works in films dealing with national narratives or issues; the role of music in the shaping of national stars and specific use of genres; audience reception of films on national music traditions; and the use of music in emerging digital video industries.

Politics in the Middle East is now 'seen' and the image is playing a central part in processes of political struggle. This is the first book in the literature to engage directly with these changing ways of communicating politics in the region - and particularly with the politics of the image, its power as a political tool. Lina Khatib presents a cross-country examination of emerging trends in the use of visuals in political struggles in the Middle East, from the Cedar Revolution in Lebanon to the Green Movement in Iran, to the Arab Spring in Egypt, Syria and Libya. She demonstrates how states, activists, artists and people 'on the street' are making use of television, the social media and mobile phones, as well as non-electronic forms, including posters, cartoons, billboards and graffiti to convey and mediate political messages. She also draws attention to politics as a visual performance by leaders and citizens alike. With a particular focus on the visual dynamics of the Arab Spring, and based on case studies on the visual dimension of political protest as well as of political campaigning and image management by political parties and political leaders, Image Politics in the Middle East shows how visual expression is at the heart of political struggle in the Middle East today. It is a hard-hitting, enjoyable, groundbreaking book, challenging the traditional ways in which politics in the Middle East is conceived of and analysed.

In Dining with Madmen: Fat, Food, and the Environment in 1980s Horror, author Thomas Fahy explores America's preoccupation with body weight, processed foods, and pollution through the lens of horror. Conspicuous consumption may have communicated success in the eighties, but only if it did not become visible on the body. American society had come to view fatness as a horrifying transformation-it exposed the potential harm of junk food, gave life to the promises of workout and diet culture, and represented the country's worst consumer impulses, inviting questions about the personal and environmental consequences of excess. While changing into a vampire or a zombie often represented widespread fears about addiction and overeating, it also played into concerns about pollution. Ozone depletion, acid rain, and toxic waste already demonstrated the irrevocable harm being done to the planet. The horror genre-from A Nightmare on Elm Street to American Psycho-responded by presenting this damage as an urgent problem, and, through the sudden violence of killers, vampires, and zombies, it depicted the consequences of inaction as terrifying. Whether through Hannibal Lecter's cannibalism, a vampire's thirst for blood in The Queen of the Damned and The Lost Boys, or an overwhelming number of zombies in George Romero's Day of the Dead, 1980s horror uses out-of-control hunger to capture deep-seated concerns about the physical and material consequences of unchecked consumption. Its presentation of American appetites resonated powerfully for audiences preoccupied with body size, food choices, and pollution. And its use of bodily change, alongside the bloodlust of killers and the desolate landscapes of apocalyptic fiction, demanded a recognition of the potentially horrifying impact of consumerism on nature, society, and the self.

For fans of big-screen monster films, KAIDA Yuji is a very well known name. Best known for his vivid illustrations of Godzilla and other popular Toho kaiju, some of Mr KAIDA's most beautiful work is presented here in this full-color flexicover volume. This book's 128 pages are packed with lush artwork, including a brand new piece showing Godzilla in London, created especially for this book.Whether you are an admirer of this Japanese master's work or just a fan of monster movie art, this book is an essential purchase!

Classic American Films explores the origin and development of many of the most influential and revered films in cinema history, and does so with the aid and insight of the people who actually wrote the screenplays. These lively, candid, in-depth interviews are filled with fascinating new material (details, anecdotes, judgments, and opinions) about the creative and collaborative processes that went into the making of these extraordinary films. In the past, Hollywood screenwriters--the original artists-- have often been overlooked. This book is a special tribute to the invaluable contributions of these cinematic visionaries, many of whom are considered among the greatest screenwriters in American film history. As Orson Welles once said, "In my opinion, the writer should have the first and last word in filmmaking." This book allows them to have that exciting opportunity. Some of the highlights from these interviews include: Betty Comden and Adolph Green's explaining how a nightclub skit became the premise for Singin' in the Rain; Ernest Lehman's description of how, while in conversation with Hitchcock, his "unconscious" suddenly solved the plot problems in North by Northwest; Carl Gottlieb's remembrance of the terrible pressure involved with writing the script for Jaws while shooting was already underway; and Sylvester Stallone's account of how he received final approval to star in Rocky from studio executives who thought he was just another actor.

This text seeks to revise notions of film genre. It connects the roles played by industry critics and audiences in making and re-making genre. In a critique of major voices in the history of genre theory from Aristotle to Wittgenstein, Altman reveals the conflicting stakes for which the genre game has been played. Recognizing that the very term "genre" has different meaning for different groups, he bases his genre theory on the uneasy competitive yet complimentary relationship among genre users and discusses a range of films from "The Great Train Robbery" to "Star Wars," and from "The Jazz Singer" to "The Player."

"Dukore's style is fluid and his wit delightful. I learned a tremendous amount, as will most readers, and Bernard Shaw and the Censors will doubtless be the last word on the topic." - Michel Pharand, former editor of SHAW: The Journal of Bernard Shaw Studies and author of Bernard Shaw and the French (2001). "This book shows us a new side of Shaw and his complicated relationships to the powerful mechanisms of stage and screen censorship in the long twentieth century." - - Lauren Arrington, Professor of English, Maynooth University, Ireland A fresh view of Shaw versus stage and screen censors, this book describes Shaw as fighter and failure, whose battles against censorship - of his plays and those of others, of his works for the screen and those of others - he sometimes won but usually lost. We forget usually, because ultimately he prevailed and because his witty reports of defeats are so buoyant, they seem to describe triumphs. We think of him as a celebrity, not an outsider; as a classic, not one of the avant-garde, of which Victorians and Edwardians were intolerant; as ahead of his time, not of it, when he was called "disgusting," "immoral", and "degenerate." Yet it took over three decades and a world war before British censors permitted a public performance of Mrs Warren's Profession. We remember him as an Academy Award winner for Pygmalion, not as an author whose dialogue censors required deletions for showings in the United States. Scrutinizing the powerful stage and cinema censorship in Britain and America, this book focuses on one of its most notable campaigners against them in the last century.

From its beginnings in the works of H.G. Wells and Jules Verne to the virtual worlds of William Gibson's "Neuromancer" and "The Matrix," "Science Fiction: A Guide to the Perplexed" helps students navigate the often perplexing worlds of a perennially popular genre. Drawing on literature as well as example from film and television, the book explores the different answers that criticism has offered to the vexed question, 'what is science fiction?' Each chapter of the book includes case studies of key texts, annotated guides to further reading and suggestions for class discussion to help students master the full range of contemporary critical approaches to the field, including the scientific, technological and political contexts in which the genre has flourished. Ranging from an understanding of the genre through the stereotypes of 1930s pulps through more recent claims that we are living in a science fictional moment, this volume will provide a comprehensive overview of this diverse and fascinating genre.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. In Hitchcock's Appetites, Casey McKittrick offers the first book-length study of the relationship between Hitchcock's body size and his cinema. Whereas most critics and biographers of the great director are content to consign his large figure and larger appetite to colorful anecdotes of his private life, McKittrick argues that our understanding of Hitchcock's films, his creative process, and his artistic mind are incomplete without considering his lived experience as a fat man. Using archival research of his publicity, script collaboration, and personal communications with his producers, in tandem with close textual readings of his films, feminist critique, and theories of embodiment, Hitchcock's Appetites produces a new and compelling profile of Hitchcock's creative life, and a fuller, more nuanced account of his auteurism.