Queer Psychology is the first comprehensive book to examine the current state of LGBTQ communities and psychology, through the lenses of both queer theory and Intersectionality theory. Thus, the book describes the experiences of LGBTQ people broadly, while also highlighting the voices of LGBTQ people of color, transgender and gender nonconforming people, those of religious minority groups, immigrants, people with disabilities, and other historically marginalized groups. Each chapter will include an intersectional case example, as well as implications for policy and practice. This book is especially important as there has been an increase in psychology and counseling courses focusing on LGBTQ communities; however, students often learn about LGBTQ-related issues through a White cisgender male normative perspective. The edited volume contains the contributions of leading scholars in LGBTQ psychology, and covers a number of concepts - ranging from identity development to discrimination to health.

Film scholarship has largely failed to address the complex and paradoxical nature of the films of Sam Peckinpah, focusing primarily on the violence of movies such as "The Wild Bunch" and "Straw Dogs" while ignoring the poetry and gentility of lesser-known pictures including "The Ballad of Cable Hogue" and "Junior Bonner." Serving as a necessary corrective, Gabrielle Murray's "This Wounded Cinema, This Wounded Life: Violence and Utopia in the Films of Sam Peckinpah" offers a better understanding of the work of this landmark director through close readings of both his famous and less-famous works.

Placing them in their proper context--both aesthetically and mythologically--Murray eschews the usual debates about screen violence to discover the ways in which Peckinpah's films provide intense, kinetic explorations of life and death. Amid the often-discussed bloodshed, this bold new study comes to find the complicated utopian impulse that exists at the heart of even Peckinpah's most violent work.

Why did Edwardian novelists portray journalists as swashbuckling, truth-seeking super-heroes whereas post-WW2 depictions present the journalist as alienated outsider? Why are contemporary fictional journalists often deranged, murderous or intensely vulnerable? As newspaper journalism faces the double crisis of a lack of trust post-Leveson, and a lack of influence in the fragmented internet age, how do cultural producers view journalists and their role in society today? In The Journalist in British Fiction and Film Sarah Lonsdale traces the ways in which journalists and newspapers have been depicted in fiction, theatre and film from the dawn of the mass popular press to the present day. The book asks first how journalists were represented in various distinct periods of the 20th century and then attempts to explain why these representations vary so widely. This is a history of the British press, told not by historians and sociologists, but by writers and directors as well as journalists themselves. In uncovering dozens of forgotten fictions, Sarah Lonsdale explores the bare-knuckled literary combat conducted by writers contesting the disputed boundaries between literature and journalism. Within these texts and films there is perhaps also a clue as to how the best aspects of 'Fourth estate' journalism can survive in the digital age. Authors covered in the volume include: Martin Amis, Graham Greene, George Orwell, Pat Barker, Evelyn Waugh, Elizabeth Bowen, Arnold Wesker and Rudyard Kipling. Television and films covered include House of Cards (US and UK versions), Spotlight, Defence of the Realm, Secret State and State of Play.

This is a superb new study of Japanese culture in the post-war period, focusing on a handful of filmmakers who created movies for a politically conscious audience. Out of a background of war, occupation and the legacies of Japan's post-defeat politics there emerged a dissentient group of avant-garde filmmakers who created a counter-cinema that addressed a newly constituted, politically conscious audience. While there was no formal manifesto for this movement and the various key filmmakers of the period (Oshima Nagisa, Imamura Shohei, Yoshida Yoshishige, Hani Susumu, Wakamatsu Koji and Okamoto Kihachi) experimented with very different conceptions of visual style, it is possible to identify a sensibility that motivated many of these filmmakers: a generational consciousness based on political opposition that was intimately linked to the student movements of the 1950s, and shared experiences as Japan's first generation of post-war filmmakers artistically stifled by a monopolistic and hierarchal commercial studio system that had emerged reinvigorated in the wake of the 'red purges' of the late-1940s. "Politics, Porn and Protest: Japanese Avant-Garde Cinema in the 1960s and 1970s" provides a much needed overview of these filmmakers and reconsiders the question of dissent in the cultural landscape of Japan in the post-war period.

The political economy and culture of Chinese cinema during the era of China's prolonged economic reform has not until now been examined in detail. Ying Zhu's new and comprehensive study examines the institutional as well as the stylistic transitions of Chinese cinema from pedagogy to art to commerce, focusing on the key film reform measures as well as the metamorphosis of Chinese Fifth Generation films from art film narration-as in Chen Kaige's 1984 Yellow Earth-to post-New-Wave classical film narration-as in the same director's 1993 Farewell, My Concubine. Zhu also considers the films of a younger generation, the so-called "underground generation," which has been making both critical and commercial waves in recent years. Of use to Asian Studies scholars and film scholars alike, her work reconciles the stylistic, cultural, and economic dimensions of the nation's cinematic output, also providing the first systematic institutional analysis of an industry in a state of constant flux.

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.

"Dietrich's Ghosts "is the first major English-language study to look at the star system under the Third Reich. Erica Carter argues that after the Weimar period, the German star system was reorganized to foster an anti-modernist mode of spectatorship geared to an appreciation of the beautiful and the sublime.
Carter discusses the reconfiguring of film production and exhibition around idealist aesthetic principles and offers case studies of three stars. Emil Jannings figures as an exemplar of what Carter terms the "volkisch "sublime, while Marlene Dietrich emerges as a figure at the crossroads of modernist and idealist conceptions of beauty. A provocative chapter on Zarah Leander in the feature films of the early war years portrays this star as a post-Dietrich emblem of the supposed sublimity of a fascist war.
This unprecedented new study reassesses existing paradigms in German film history debates and throws suggestive new light on the icons and popular culture of the Third Reich.

This book provides coverage of the diversity of Australian film and television production between 2000 and 2015. In this period, Australian film and television have been transformed by new international engagements, the emergence of major new talents and a movement away with earlier films' preoccupation with what it means to be Australian. With original contributions from leading scholars in the field, the collection contains chapters on particular genres (horror, blockbusters and comedy), Indigenous Australian film and television, women's filmmaking, queer cinema, representations of history, Australian characters in non-Australian films and films about Australians in Asia, as well as chapters on sound in Australian cinema and the distribution of screen content. The book is both scholarly and accessible to the general reader. It will be of particular relevance to students and scholars of Anglophone film and television, as well as to anyone with an interest in Australian culture and creativity.

Gene Tierney may be one of the most recognizable faces of studio-era Hollywood: she starred in numerous classics, including Leave Her to Heaven, The Ghost and Mrs. Muir, and Laura, with the latter featuring her most iconic role. While Tierney was considered one of the most beautiful women in Hollywood, she personified "ordinariness" both on- and off-screen. Tierney portrayed roles such as a pinup type, a wartime worker, a wife, a mother, and, finally, a psychiatric patient-the last of which may have hit close to home for her, as she would soon leave Hollywood to pursue treatment for mental illness and later attempted suicide in the 1950s. After her release from psychiatric clinics, Tierney sought a comeback as one of the first stars whose treatment for mental illness became public knowledge. In this book, Will Scheibel not only examines her promotion, publicity, and reception as a star but also offers an alternative history of the United States wartime efforts demonstrated through the arc of Tierney's career as a star working on the home front. Scheibel's analysis aims to showcase that Tierney was more than just "the most beautiful woman in movie history," as stated by the head of production at Twentieth Century Fox in the 1940s and 1950s. He does this through an examination of her making, unmaking, and remaking at Twentieth Century Fox, rediscovering what she means as a movie legend both in past and up to the present. Film studies scholars, film students, and those interested in Hollywood history and the legacy of Gene Tierney will be delighted by this read.

Pleasures of Horror is a stimulating and insightful exploration of horror fictions--literary, cinematic and televisual--and the emotions they engender in their audiences. The text is divided into three sections. The first examines how horror is valued and devalued in different cultural fields; the second investigates the cultural politics of the contemporary horror film; while the final part considers horror fandom in relation to its embodied practices (film festivals), its "reading formations" (commercial fan magazines and fanzines) and the role of special effects. Pleasures of Horror combines a wide range of media and textual examples with highly detailed and closely focused exposition of theory. It is a fascinating and engaging look at responses to a hugely popular genre and an invaluable resource for students of media, cultural and film, studies and fans of horror.

The first films were shorts. Most leading filmmakers made shorts, including Chaplin, Keaton, Orson Welles, Stanley Kubrick, Lindsay Anderson, and--more recently--Lynne Ramsey and Damian O' Donnell. Though a standard and much-loved part of the cinemagoing experience for decades, short films are now rarely seen, even though more are made than ever. Hundreds of student films are made annually and television stations use shorts as fillers. Dotcom companies fight to secure rights and short film festivals take place all over the world. There is even the beginning of a comeback for the cinema short.
This book traces the history of the short film and its current role. Focusing on short-film producers and directors, it looks at the short film as a training opportunity for new talent. It covers issues of distribution, funding (including the lottery boom), exhibition, festivals, training, and publications.

Branded as rebels and traitors, the members of the Alliance worked in the shadows, gathering information and support from across the galaxy to bring an end to the Empire's tyranny. Concealed within a secure case, their most vital and sensitive information was collected by one of Mon Mothma's most trusted aides and kept hidden until now. Discovered by the Resistance in the ruins of an old rebel base, these files have been passed among key members of the Resistance, who have added notes, updates, and new insights to the documents. A repository of Alliance intelligence, The Rebel Files weaves together classified documents, intercepted transmissions, and gathered communications to trace the formation of the Rebel Alliance. Unlock the secrets of the Rebel Alliance.

This provocative book reveals how Hollywood films reflect our deepest fears and anxieties as a country, often recording our political beliefs and cultural conditions while underscoring the darker side of the American way of life. Long before the war in Iraq and the economic crises of the early 21st century, Hollywood has depicted a grim view of life in the United States, one that belies the prosperity and abundance of the so-called American Dream. While the country emerged from World War II as a world power, collectively our sense of security had been threatened. The result is a cinematic body of work that has America's decline and ruin as a central theme. The author draws from popular films across all genres and six decades to illustrate how the political climate of the times influenced their creation. Projecting the End of the American Dream: Hollywood's Visions of U.S. Decline combines film history, social history, and political history to reveal important themes in the unfolding American narrative. Discussions focus on a wide variety of films, including Rambo, Planet of the Apes, and Easy Rider.

Recounts the life and career of Croatian filmmaker Rajko Grlic in the form of a lexicon of film terms tied to anecdotes spanning Grlic's life. "I read a lot this year. Old, new, borrowed, blue. This was the best. The paradox of reading something so avidly that you can't put it down and then I got to the last 20 pages slowing down to a snail's pace and reading so slowly so that it wouldn't be over so quickly."-Mike Downey, European Film Academy From his post-Nazi-era childhood in Yugoslavia to his college years during the 1968 invasion of Prague, the Yugoslav dissolution wars, and his subsequent exile in the United States, these personal stories combine to provide insight into socialist film industries, contextualizing south Slavic film while also highlighting its contacts with Western filmmakers and film industry. From the introduction by Aida Vidan: The one hundred and seventy-seven film terms provide sometimes a direct and at other times a metaphoric path to Grlic's stories and concurrently serve as a self-referential mechanism to comment on a series of film attributes. The entries can be read in any order, allowing for the reader's own "montage" of the book's universe.... Grlic adroitly captures the absurdities and paradoxes in one's life resulting from the sort of tectonic shifts with which East European history abounds.

Written based on the author's own notes compiled over 18 years This manual is a learning tool focusing exclusively on the work of animators. explains the principles of physics applicable to any motion