Hold an entire galaxy of iconic lightsabers in the palm of your hand!

Discover the most legendary weapons in the galaxy with Star Wars: The Mini Book of Lightsabers. Iconic hilts from across movies, television shows, video games, comics, and novels are presented through highly detailed illustrations and photography, making this mini book a must-have, pocket-sized reference book for Star Wars fans of all ages.

Wherever vampires existed in the imaginations of different peoples, they adapted themselves to the customs of the local culture. As a result, vampire lore is extremely diverse. So too, representations of the vampire in creative works have been marked by much originality. In "The Vampyre" (1819), John Polidori introduced Lord Ruthven and established the vampire craze of the 19th century that resulted in a flood of German vampire poetry, French vampire drama, and British vampire fiction. This tradition culminated in Bram Stoker's "Dracula" (1897), which fixed the character of the Transylvanian nobleman as the archetypal vampire firmly in the public imagination. Numerous films drew from Stoker's novel to varying degrees, with each emphasizing different elements of his vampire character. And more recent writers have created works in which vampirism is used to explore contemporary social concerns.

The contributors to this volume discuss representations of the vampire in fiction, folklore, film, and popular culture. The first section includes chapters on Stoker and his works, with attention to such figures as Oscar Wilde and Edvard Munch. The second section explores the vampire in film and popular culture from Bela Lugosi to "Blacula." The volume then looks at such modern writers as Anne Rice and Chelsea Quinn Yarbro who have adapted the vampire legend to meet their artistic needs. A final section studies contemporary issues, such as vampirism as a metaphor for AIDS in ""Killing Zoe."

Cecil B. DeMille, David Selznick, Louella Parsons, Joan Crawford--these legendary men and women built an empire called Hollywood. In Movie Crazy, meet another group of powerful players who shaped the film industry--the fans. MGM, for example, struggled to find a screen name for an actress named Lucille LeSeur. A fan--one of thousands who responded to a contest sponsored by the studio--called her Joan Crawford. Using fan club journals, fan letters, and studio production records, Samantha Barbas reveals how the passion, enthusiasm, and sometimes possessive advocacy of fans transformed early cinema, the modern mass media, and American popular culture. Barbas sheds new light on the development of the cult of celebrity in America, and demonstrates that while fans were avid consumers of the film industry, they did not mindlessly accept the images presented to them by the studios. Fans reacted to movies and stars with excitement, anger, confusion, joy, or boredom. Far from a united force, fans were often complex, and never predictable.

Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, because it can create its own philosophy? In fact, a popular claim amongst film philosophers is that film is no mere handmaiden to philosophy, that it does more than simply illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. Approaches that purport to grant to film the possibility of being more than illustrative can be found in the subtractive ontology of Alain Badiou, the Wittgensteinian analyses of Stanley Cavell, and the materialist semiotics of Gilles Deleuze. In each case there is a claim that film can think in its own way. Too often, however, when philosophers claim to find indigenous philosophical value in film, it is only on account of refracting it through their own thought: film philosophizes because it accords with a favored kind of extant philosophy.

"Refractions of Reality: Philosophy and the Moving Image" is the first book to examine all the central issues surrounding the vexed relationship between the film image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Zizek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Ranciere, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and revisioning the field of film theory as a whole.

Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pretexts for illustration? What would it take to imagine how film might itself theorize without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory? If a 'non-philosophy' like film can think philosophically, what does that imply for orthodox theory and philosophy?

Examining the vast breadth and diversity of contemporary documentary production, while also situating nonfiction film and video within the cultural, political, and socio-economic history of the region, this book addresses topics such as documentary aesthetics, indigenous media, and transnational filmmaking, among others.

The Art of The Batman is the official behind-the-scenes illustrated tie-in book to the highly-anticipated Matt Reeves (Cloverfield, Dawn of the Planet of the Apes, War for the Planet of the Apes) film, coming to theaters March 4, 2022. Set during Batman's second year as a crimefighter, this unique, noir-inspired take on the Dark Knight serves as a return to the character's roots in detective fiction, crime, and horror and stars Robert Pattinson as Bruce Wayne, Zoe Kravitz as Catwoman, Paul Dano as the Riddler, Jeffrey Wright as Commissioner Gordon, and Colin Farrell as The Penguin. Readers will get an insider's look at the film's production process through character designs, vehicle and gadget designs, background paintings, storyboards, and keyframe art done for the film, alongside original commentary and interviews from the filmmakers, cast, production designer, and conceptual artists.

This is a new edition of Laura Mulvey's groundbreaking collection of essays, originally published in 1989. in an extensive introduction to this second edition, Mulvey looks back at the historical and personal contests for her famous article "Visual Pleasure and Narrative Cinema, "and reassesses her theories in the light of new technologies.

This comprehensive guide is an ideal reference work for film specialists and enthusiasts. First published in 1984 but continuously updated ever since, CineGraph is the most authoritative and comprehensive encyclopedia on German-speaking cinema in the German language. This condensed and substantially revised English-language edition makes this important resource available to students and researchers for the first time outside its German context. It offers a representative historical overview through bio-filmographical entries on the main protagonists, from the beginnings to the present day. Included are directors and actors, writers and cameramen, composers and production designers, film theorists and critics, producers and distributors, inventors and manufacturers. An appendix includes short introductory essays on specific periods and movements, such as Early Film, Weimar, Nazi Cinema, DEFA, New German Cinema, and German film since unification, as well as on cinematic developments in Austria and Switzerland. Sections that crossreference names around specific professional groups and themes will prove equally invaluable to researchers.

aHighly recommended.a
--"Choice"

"Korean cinema is arguably more important on the world stage today than either the Japanese or Hong Kong cinemas. This book is a major intervention into the study of global media production and consumption."
--David Desser, University of Illinois at Champaign-Urbana

aSouth Korean film is one of the newest and most exciting areas of research and interest. The coverage of the subject in this volume is nuanced and impressive.a
--Kathleen McHugh, UCLA

Korean film has been heralded as the "newest tiger" of Asian cinema. In the past year, South Korea became one of the only countries in the world in which local films outsold Hollywood films, and Korean director Park Chan-wook was awarded the Grand Prix at Cannes.

New Korean Cinema provides a comprehensive overview of the production, circulation, and reception of this vibrant cinema, which has begun to flourish again in the past decade, following the lifting of repressive government policies. In addition to providing a cultural, historical, and social context for understanding this burgeoning cinema, the book considers the political economy of South Korea's film industry, strategies of domestic and international distribution and marketing, and the consumption of Korean films throughout the world. The volume also includes a glossary of key terms and a bibliography of works on Korean cinema.

New Korean Cinema gathers prominent critics from North America, Asia, and Europe to make sense of this exploding film industry. This book is essential reading for anyone seeking to understand the complex roles played by national and regional cinemas in a global age.

Now in its fourth edition, Television and Screen Writing: From Concept to Contract is a classic resource for students and professionals in screenwriting and television writing. This book will teach you how to become a creative and marketable writer in every professional arena - including major studios, production companies, networks, cable and pay TV, animation, and interactive programs. Specific techniques and script samples for writing high-quality and producible "spec" scripts for theatrical motion pictures, the sitcom series, one-hour dramatic series, longform television, soaps, talk show, variety, animation, interactive and new media are provided. Television and Screen Writing: From Concept to Contract, Fourth Edition also offers a fully detailed examination of the current marketplace, and distinct strategies for marketing your scripts, from registering and copyrighting the script to signing with an agent. This new edition has been expanded to include the most up-to-date creative and professional script samples, marketing resources, and practical information possible. The companion website offers a wide range of contacts and resources for you to explore, and Internet links to professional resources. There is also an Annotated and Selected Bibliography for your reference

Mr. Collings, author of previous OCP titles Hauntings: Official Peter Straub Biblio-graphy and Storyteller: Official Guide to Orson Scott Card has now brought to you this incredible collection of every book, story, and ephemera published on Stephen King. Featured chapters: Bibliography: Book-Length Publications: Fiction, Poetry, Plays. Short Fictions: Short Stories, Novellas, Unpublished manuscripts. Non-Fiction: Science Fiction Criticism, Theoretical Essays, and Reviews. Video and Audio Tape Dramatic Presentations. Selected Secondary Sources: Interviews, Reviews, Articles, Biographical sketches, etc. This bibliography is Indexed. ALSO: Cover art of most novels and collections, rare publications, reproduced here

JEAN-LUC GODARD

Theres no one else quite like Jean-Luc Godard. You could take a few frames from one of his films and know they were by the maestro and nobody else. Where the flood of movies globally now runs into many thousands, Godards works stand out as original, acerbic, romantic, ironic, humorous and explorative.

EXTRACT FROM CHAPTER 2: GODARD BIOGRAPHY

With Bout du Souffle, Godard produced one of the first, great French New Wave movies, starring Jean-Paul Belmondo and Jean Seberg, and written by, among others, Franois Truffaut. Bout du Souffle, with its cool Parisian milieu, its filmic and film noir allusions, handheld camera, direct sound, startling editing and stylish, self-conscious performances from Belmondo and Seberg, established Godard as one of the major voices of postwar cinema, a reputation which Godard built on in subsequent early films such as Le Petit Soldat (1960), Une Femme Est Une Femme (1961), Vivre Sa Vie (1962), Le Mpris (1963), Bande Part (1964), and Une Femme Marie (1964).

In these films of the early to mid-1960s, Godard established a radical, polemical series of films as film-essays which confronted issues such as late consumer capitalism, prostitution, labour, politics, ideology, gender, marriage, music, popular culture, Hollywood and not forgetting cinema itself.

In the mid-1960s, Godards films became increasingly political - the sci-fi film Alphaville (1965), Pierrot le Fou (1965), Made in U.S.A (1966), Masculine/ Fminin (1966), 2 ou 3 Choses Que Je Sais (1966) until, by 1967-68, the Marxist and Maoist influences permeated Godards films: Weekend (1967), La Chinoise (1967), La Gai Savoir (1968), and One Plus One (Sympathy For the Devil, 1968). His concern was not to make political films, but to make films politically (my emphasis).

In the 1970s, Godard moved into video and television territory, and worked with Anne-Marie Miville on many projects: Ici Et Ailleurs (1974), Numro Deux (1975), Comment a Va (1976), Six Fois Deux/ Sur Et Sous La Communication (1976), and France/ Tour/ Dtour/ Deux/ Enfants (1977-78).

In the late 1970s, Godard made a return to feature filmmaking, with the sublime trilogy, Sauve Qui Peut (a.k.a. Every Man For Himself and Slow Motion, 1979), Passion (1982), and Prnom: Carmen (1983).

Easily his most controversial film, Je Vous Salue Marie (Hail Mary), appeared in 1985; it was followed by Dtective (1985), made to help finance the completion of Hail Mary, King Lear (1987), which starred Peter Sellars, Burgess Meredith, Molly Ringwald, Norman Mailer and Woody Allen, Nouvelle Vague (1990), Hlas Pour Moi (1993), For Ever Mozart (1997), loge de lAmour (In Praise of Love, 2000) and Notre Musique (2005).

Fully illustrated. Bibliography and notes.

One of the most fascinating aspects of film studies is how it can explain more about the nature of "closed" societies. In Eastern Europe, artists, intellectuals, and entertainers are now free to create film outside the direct control of the state. This unique handbook convincingly shows how much film art was still being produced behind the Iron Curtain even during such repressive periods as those under Stalin and Brezhnev. Thomas J. Slater has compiled a valuable history of cinematic evolution in the Soviet Union and Eastern Europe through the use of detailed historiographical essays for each country. The dramatic changes in the political and economic structures of Eastern Europe that occurred during 1989-90 have revealed even more about courageous filmmakers who worked under difficult conditions. Many were still able to produce artistically important films, but filmmakers were often forced to become propagandizers for their authoritarian governments. This book outlines the film achievements in the Soviet Union, Poland, Czechoslovakia, Yugoslavia, Hungary, East Germany, Romania, and Bulgaria, and how their people responded to the films they were allowed to see. An appendix contains a chronology of major historical, cultural, and film events in the Soviet Union and Eastern Europe during the past 100 years. This book will be of great value to scholars not only of film studies, but also of history, social and political science, communications, culture, and the fine arts. The handbook is an excellent addition to the collections of academic and public libraries and provides a vital listing for film historians and filmmakers.

"From IBM to MGM: Cinema at the Dawn of the Digital Age" uncovers the early history of cinema and computers and looks at how filmmakers first encountered the defining technology of the digital age. In this original study, author Andrew Utterson charts the beginnings of digital cinema, addressing both how filmmakers used new digital technologies and how attitudes and anxieties about the rise of the computer were represented in films such as Walter Lang's "Desk Set," Jean-Luc Godard's "Alphaville, " Stanley Kubrick's "2001: A Space Odyssey" and Michael Crichton's "Westworld." At once both timely and historically-grounded, "From IBM to MGM" focuses on cinema's earliest encounters with computers, as filmmakers like John Whitney, Stan VanDerBeek and other pioneers responded to the flurry of digital devices that emerged in the post-war decades.

Queer Nostalgia in Cinema and Pop Culture explores popular representations of queer nostalgia in films, animation and music videos as means of empowerment, re-evaluating and recreating lost gay youth, coming to terms with one's sexual otherness and homoerotic desires, celebrating queer counterculture, and creatively challenging homophobia, chauvinism, ageism and racism. In particular, Queer Nostalgia engages in a critical discussion of nostalgia-in-motion, the significance of 'femininostlagia' (gay men's effeminate nostalgia), the intricate relationship between queer nostalgia, martyrdom and emergent queer mythology, the contribution of nostalgia to 'autoqueerography' (queer autobiography inspired by women's dissident autobiography or 'autogynography'), and the interrelationship between ethnic and queer nostalgias.

Indian cinema teems with a multitude of different voices. The "Directory of World Cinema: India" provides a broad overview of this rich variety, highlighting distinctions among India's major cinematic genres and movements while illuminating the field as a whole. This volume's contributors--many of them leading experts in their fields--approach film in India from a variety of angles, furnishing in-depth essays on significant directors and major regions; detailed historical accounts; considerations of the many faces of India represented in Indian cinema; and explorations of films made in and about India by European directors including Jean Renoir, Peter Brook, and Emeric Pressburger. Taken together, these multifaceted contributions show how India's varied local film industries throw into question the very concept of a national cinema. The resulting volume will provide a comprehensive introduction for newcomers to Indian cinema while offering a fresh perspective sure to interest seasoned students and scholars.

Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke's films, situated as they are between intellectual projects and popular entertainments. In this first English-language introduction to, and critical analysis of, his work, each of Haneke's eight feature films are considered in detail. Particular attention is given to what the author terms Michael Haneke's 'ethical cinema' and the unique impact of these films upon their audiences. Drawing on the moral philosophy of Immanuel Kant and Stanley Cavell, Catherine Wheatley, introduces a new way of marrying film and moral philosophy, which explicitly examines the ethics of the film viewing experience. Haneke's films offer the viewer great freedom whilst simultaneously imposing a considerable burden of responsibility. How Haneke achieves this break with more conventional spectatorship models, and what its far-reaching implications are for film theory in general, constitute the principal subject of this book.