During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science fiction. Using the familiar imagery of science fiction - from alien invasions to biological mutation and space travel - the vast majority of these films subscribed to the effects and aesthetics of horror film, anticipating the dystopian turn of many science fiction films to come. Departing from projections of American technological awe and optimism, these films often evinced paranoia, unease, fear, shock, and disgust. Not only did these movies address technophobia and its psychological, social, and cultural corollaries; they also returned persistently to the military as a source of character, setting, and conflict. Commensurate with a state of perpetual mobilization, the US military comes across as an inescapable presence in American life. Regardless of their genre, Steffen Hantke argues that these films have long been understood as allegories of the Cold War. They register anxieties about two major issues of the time: atomic technologies, especially the testing and use of nuclear weapons, as well as communist aggression and/or subversion. Setting out to question, expand, and correct this critical argument, Hantke follows shifts and adjustments prompted by recent scholarly work into the technological, political, and social history of America in the 1950s. Based on this revised historical understanding, science fiction films appear in a new light as they reflect on the troubled memories of World War II, the emergence of the military-industrial complex, the postwar rewriting of the American landscape, and the relative insignificance of catastrophic nuclear war compared to America's involvement in postcolonial conflicts around the globe.

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.

This book presents a chronology of thirty definitions attributed to the word, term, phrase, and concept of "documentary" between the years 1895 and 1959. The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Dan Geva's principal argument is twofold: first, that each definition is an original ethical premise of documentary; and second, that only the structured assemblage of the entire set of definitions successfully depicts the true ethical nature of documentary insofar as we agree to consider its philosophical history as a reflective object of thought in a perpetual state of being-self-defined: an ethics sui generis.

This book will explore these issues of auteurship and stardom in the films of Kitano Takeshi especially as they relate to problems of personal and national identity in a Japan confronting an age of globalization. Starting in his early days as one side of a stand-up comedy duo, Kitano has used pairs throughout his films to deftly play out a liminal space between cinema and television, traditional and modern, Japan and the world. Combining a detailed account of the situation in Japanese film and criticism with unique close analyses of Kitano's films from Violent Cop to Takeshis, the author, a renowned expert on Japanese cinema who himself participated in the debates about Kitano in Japan, relates the director to issues of contemporary cinema, Japanese national identity, and globalism.

The Frontier Club is Christine Bold's name for the network of eastern aristocrats who created the western as we now most commonly know it. At the turn of the twentieth century, they yoked this most popular formula to their own elite causes-from big-game hunting to conservation, immigration restriction to Jim Crow segregation-and aligned themselves with cattle kings and "quality" publishers. This book tells the story of that cultural sleight-of-hand. It delves into institutional archives and personal papers to excavate the hidden social, political, and financial interests in the making of the modern western. It re-reads frontier club fiction in relation to the federal policies and cultural spaces (from exclusive gentlemen's clubs to national parks to zoos) with which it was intimately connected; the centerpiece is Owen Wister's bestselling novel The Virginian. It casts new light on nine key clubmen, both the famous and the forgotten-in addition to Wister, the network included Theodore Roosevelt, George Bird Grinnell, Silas Weir Mitchell, Henry Cabot Lodge, Madison Grant, Caspar Whitney, Winthrop Chanler, and Frederic Remington-while recovering the women on whom these men depended and without whom this version of the popular West would not exist. Bold also considers some of the costs of the frontier club formula, in terms of its impact on Indigenous peoples and its marginalization of other popular voices, including western writings by African Americans, white women, and non-elite white men. The book ends by briefly charting the frontier club's enduring impression on western movies.

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.

Barbara Stanwyck (1907-1990) rose from the ranks of chorus girl to become one of Hollywood's most talented leading women-and America's highest paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy.

Dan Callahan considers both Stanwyck's life and her art, exploring her seminal collaborations with Capra in such great films as "Ladies of Leisure," "The Miracle Woman," and "The Bitter Tea of General Yen"; her Pre-Code movies "Night Nurse" and "Baby Face"; and her classic roles in "Stella Dallas," "Remember the Night," "The Lady Eve," and "Double Indemnity." After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series "The Big Valley" renewed her immense popularity.

Callahan examines Stanwyck's career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, "All I Desire" and "There's Always Tomorrow," and two outrageous westerns, "The Furies" and "Forty Guns." The book positions Stanwyck where she belongs-at the very top of her profession-and offers a close, sympathetic reading of her performances in all their range and complexity.

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.

In this book, which includes a new interview with Ballard who wrote the book on which the film was based, Sinclair explores the temporal loop which connects film and novel, and asks questions such as to what extent is "Crash "a premonition of some of the more remarkable media events of recent times. In the BFI MODERN CLASSICS series.

"Alan Ball: Conversations" features interviews that span Alan Ball's entire career and include detailed observations and insights into his Academy Award-winning film "American Beauty" and Emmy Award-winning television shows "Six Feet Under" and "True Blood." Ball began his career as a playwright in New York, and his work soon caught the attention of Hollywood television producers. After writing for the sitcoms "Grace Under Fire" and "Cybill," Ball turned his attention to the screenplay that would become "American Beauty." The critical success of this film opened up exciting possibilities for him in the realm of television. He created the critically acclaimed show "Six Feet Under," and after the series finale, he decided to explore the issue of American bigotry toward the Middle East in his 2007 play "All That I Will Ever Be" and the film "Towelhead," which he adapted and directed in the same year. Ball returned to television once again with the series "True Blood"--an adaptation of the humorous, entertaining, and erotic world of Charlaine Harris's vampire novels. In 2012 Ball announced that he would step down as executive producer of "True Blood," in part, to produce both a new television series and his latest screenplay, "What's the Matter with Margie?"

This work provides an accurate, in-depth examination and scientific evaluation of the most famous hauntings in American history as depicted in popular films and television programs. Neither a debunking book nor one written for the "true believer" in the paranormal, American Hauntings objectively scrutinizes the historic evidence behind such hugely popular films as The Exorcist, The Amityville Horror, An American Haunting, The Conjuring, and The Haunting in Connecticut to ascertain the accuracy of these entertainment depictions of "true life" hauntings. The authors then compare these popular culture accounts against the alleged real-life encounters and impartially weigh the evidence to assess whether each incident actually took place. Written by highly credentialed, recognized authorities on the paranormal and social psychology, this book contains meticulously documented, science-based information written for a broad audience, from middle and high school students and those taking introductory courses at a university level to general readers. There is no other work that provides as careful and unbiased an evaluation of the most famous hauntings in American history. The book also examines the reliability of popular television shows such as Unsolved Mysteries and Paranormal Witness. Supplies a balanced approach to the subject of the paranormal and social psychology that explores both sides of the issue and evaluates the evidence as a scientist would Examines subject matter that is of universal, natural interest to students, teachers, and the general public, and supplies interdisciplinary coverage of religion, history, sociology, social psychology, folklore, critical thinking, pseudoscience, and media/film studies Provides an ideal resource for students writing reports and research papers

The first academic evaluation of the work of this major film director aims to study both his aesthetic achievement and the underlying themes and values he projects. Working within the boundaries of many diverse popular genres, Scott has infused his works with new energy through both a strong formal sense and a cohesive world view. In such films as "Alien," "Blade Runner," "Thelma & Louise," and the recent blockbuster "Gladiator," Scott addresses the tensions between institutions and individuals, passion and reason, and social order and personal freedom--particularly for women, who in Scott's films often posses strong characters, moral rectitude, and physical prowess--making him the rare mainstream director who does not reserve such heroic qualities for men only.

Providing extensive discussion of each of Ridley Scott's films--from 1977's "The Duellists" through the recent blockbuster epic "Gladiator"--author Richard A. Schwartz considers the power that even a filmmaker working well within the boundaries of the Hollywood studio system has to define and promote social values. Scott's frequent choice of the genre film as his mechanism for this makes him a particularly fascinating figure in contemporary cinema.

THE LORD OF THE RINGS MOVIES: POCKET GUIDE

A pocket guide to the Hollywood adaptions of J.R.R. Tolkien's fantasy epic The Lord of the Rings, released in 2001, 2002 and 2003. The book tells you everything you need to know about these very popular films, from writing the script through casting and financing, to shooting and performances, to visual effects, editing and theatrical distribution.

The pocket guide includes discussions of every single scene in the three movies, including the Special Extended Editions (some scenes are explored in great detail, as well as some key individual shots). There are sections on the all of the important differences between The Lord of the Ring book and the Hollywood movies (including numerous details), as well as a chapter exploring the additions and the omissions. Looks at behind the scenes stories, and also the critical response to the movies.

There are chapters on the visual effects, on the casting and key personnel of the movies, on the studio and the financing of the films, on the music and sound, and the marketing and release of the movies in 2001-2003 (including the home entertainment releases on DVD and video). There is also a chapter on the critical response to the movies.

There is also an appendix on other adaptions of J.R.R. Tolkien's books.

Jeremy Robinson has written many critical studies, including Steven Spielberg, Arthur Rimbaud, Jean-Luc Godard, Hayao Miyazaki, Ken Russell, Walerian Borowczyk, and The Sacred Cinema of Andrei Tarkovsky, plus literary monographs on: J.R.R. Tolkien; J.M.W. Turner; Samuel Beckett; Thomas Hardy; Arthur Rimbaud; Andre Gide; John Cowper Powys; Robert Graves; and Lawrence Durrell.

Includes bibliography, illustrations, appendices and notes. ISBN 9781861713780. 496 pages.

www.crmoon.com

"The New York Times" bestseller that follows the making of five films at a pivotal time in Hollywood history
In the mid-1960s, westerns, war movies, and blockbuster musicals like "Mary Poppins" swept the box office. The Hollywood studio system was astonishingly lucrative for the few who dominated the business. That is, until the tastes of American moviegoers radically- and unexpectedly-changed. By the Oscar ceremonies of 1968, a cultural revolution had hit Hollywood with the force of a tsunami, and films like "Bonnie and Clyde, The Graduate, Guess Who's Coming to Dinner, In the Heat of the Night," and box-office bomb "Doctor Doolittle" signaled a change in Hollywood-and America. And as an entire industry changed and struggled, careers were suddenly made and ruined, studios grew and crumbled, and the landscape of filmmaking was altered beyond all recognition.

Winner of the MLA Aldo and Jeanne Scaglione Prize for Italian Studies 2016 Winner of the American Association for Italian Studies Book Prize 2016 This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Written by one of Europe's leading critics, Ecocriticism and Italy reads the diverse landscapes of Italy in the cultural imagination. From death in Venice as a literary trope and petrochemical curse, through the volcanoes of Naples to wine, food and environmental violence in Piedmont, Serenella Iovino explores Italy as a text where ecology and imagination meet. Examining cases where justice, society and politics interlace with stories of land and life, pollution and redemption, the book argues that literature, art and criticism are able to transform the unexpressed voices of these suffering worlds into stories of resistance and practices of liberation.

Delve behind the scenes of Oscar-winning director Guillermo del Toro's first foray into stop-motion animation with Guillermo del Toro's Pinocchio: A Timeless Tale Told Anew Guillermo del Toro's Pinocchio: A Timeless Tale Told Anew takes readers on an unprecedented journey into the creation of Guillermo del Toro's hit musical fantasy version of the beloved story of Pinocchio. Inspired by the art from Gris Grimly's 2002 edition of The Adventures of Pinocchio, del Toro's adaptation is a dark take on the classic fairy tale. Featuring exclusive interviews with the star-studded cast, which includes Finn Wolfhard, Christoph Waltz, Tilda Swinton, Ewan McGregor, Cate Blanchett, and more, this book showcases the creativity and effort it takes to produce a stop-motion animation film, from concept art to building the puppets to the filming process and beyond.