This day-by-day account of the legend's life-the first of its kind-succeeds in the daunting task of tracking Judy's myriad professional pursuits, the personal crises she triumphed over, and her many accomplishments. Lavishly illustrated with eighty rare photos, this volume contains new information to enthrall even the most knowledgeable Garland fan. For those just encountering Judy, this book provides the perfect introduction, an engrossing narrative bursting with information: her performance dates, concert set lists, and recording session schedules; the evolving critical reception to her work; the many celebrities that came into contact with and adored Judy, from the Beatles to Elvis to Sinatra; her filming itineraries and guest appearances; excerpts from rare interviews and press conferences; and much more. Here is Judy Garland as never viewed before, in a way that allows readers to see her whole life on a daily basis and come to their own conclusion about what her life was really about. They will encounter a survivor, parent, friend, and one of the greatest entertainers the world has ever known, who overcame one obstacle after another in order to devote forty-five of her forty-seven years to delighting her fans. From her debut performance as a Gumm Sister at age two to her final day, Judy Garland is the definitive chronicle of this remarkable icon.

A comprehensive study of domestic buildings in London from about 1200 to the Great Fire in 1666. John Schofield describes houses and such related buildings as almshouses, taverns, inns, shops and livery company halls, drawing on evidence from surviving buildings, archaeological excavations, documents, panoramas, drawn surveys and plans, contemporary descriptions, and later engravings and photographs. Schofield presents an overview of the topography of the medieval city, reconstructing its streets, defences, many religious houses and fine civic buildings. He then provides details about the mediaeval and Tudor London house: its plan, individual rooms and spaces and their functions, the roofs, floors and windows, the materials of construction and decoration, and the internal fittings and furniture. Throughout the text he discusses what this evidence tells us about the special restrictions or pleasures of living in the capital; how certain innovations of plan and construction first occurred in London before spreading to other towns; and how notions of privacy developed.

A megalopolis of more than twelve million inhabitants, Moscow is a city with a rich and varied history. In 1918, following the Revolution, Moscow became the capital of the Soviet Union, and it remained capital of the Russian Federation after 1991. Moscow's status as capital, from 1918 to the present, more or less coincides with its life on the silver screen, since there are very few preserved filmic depictions of the city from pre-Revolutionary years. In the Soviet era, film often served propaganda purposes; therefore, the image of Moscow on celluloid echoes the political ambitions of the country, and film locations and settings reflect the cultural agenda of the times.
"World Fi""lm Locations: Moscow" compares and contrasts images from the past and present, giving the forty-six carefully selected scene reviews and seven spotlight essays a historical focus. With an inside look at the city's film studio, Mosfilm, the book is essential for all armchair travelers and cinephiles alike.

The Cold War on Film illustrates how to use film as a teaching tool. It stands on its own as an account of both the war and the major films that have depicted it. Memories of the Cold War have often been shaped by the popular films that depict it-for example, The Manchurian Candidate, The Hunt for Red October, and Charlie Wilson's War, among others. The Cold War on Film examines how the Cold War has been portrayed through a selection of 10 iconic films that represent it through dramatization and storytelling, as opposed to through documentary footage. The book includes an introduction to the war's history and a timeline of events. Each of the 10 chapters that follow focuses on a specific Cold War film. Chapters offer a uniquely detailed level of historical context for the films, weighing their depiction of events against the historical record and evaluating how well or how poorly those films reflected the truth and shaped public memory and discourse over the war. A comprehensive annotated bibliography of print and electronic sources aids students and teachers in further research. Provides a unique guide to the Cold War experience for film history buffs, students and scholars of history, and fans of cinema Offers equal emphasis on the films themselves and the historical events depicted Presents carefully researched and highly informative coverage Stimulates debate over the various ways the war was interpreted and experienced

This book traces the evolution of George Clooney's successful career, from his humble start as a television heartthrob to his current position as one of the most powerful figures in film making today. It can be said that George Clooney has crafted his artistic brand through a mixture of smart career choices of roles, carefully nuanced performances, and key relationships with directors. He is not just an accomplished actor but a major Hollywood player, serving as director, producer, and writer on many projects. His work garners critical acclaim, and his influence and creative input have been the main reason why some of his films exist at all. This fascinating book analyzes the impressive career trajectory of one of the industry's most powerful figures today. George Clooney: An Actor Looking for a Role is the first book to examine the full range of Clooney's career. Arranged by genre, sections include early television work, romantic comedies, action films, heist movies, political thrillers, and films that blend a number of different genres. Clooney's contributions have not only resulted in three Oscar acting nominations and one win, but his work continues to challenge the conventions of the traditional form and expands the definition of key genres. A comprehensive review of the career of George Clooney Critically rigorous but accessible writing style A compilation of Clooney's work, including obscure work in television, films, and commercials Expert analysis of genres, roles, and creative collaborations

Like founder Rowena Ravenclaw, the members of Hogwarts' Ravenclaw house, including Luna Lovegood and Cho Chang, are known for their wit and cleverness. Now you can capture the magic of Ravenclaw house like never before and collect a stunning array of artifacts inspired by the Harry Potter films. Inside, fans will learn about all things Ravenclaw, relive moments from the films, and delve into the behind-the-scenes magic that brought Harry Potter to life on the big screen.

In Slave Revolt on Screen: The Haitian Revolution in Film and Video Games author Alyssa Goldstein Sepinwall analyzes how films and video games from around the world have depicted slave revolt, focusing on the Haitian Revolution (1791-1804). This event, the first successful revolution by enslaved people in modern history, sent shock waves throughout the Atlantic World. Regardless of its historical significance however, this revolution has become less well-known-and appears less often on screen-than most other revolutions; its story, involving enslaved Africans liberating themselves through violence, does not match the suffering-slaves-waiting-for-a-white-hero genre that pervades Hollywood treatments of Black history. Despite Hollywood's near-silence on this event, some films on the Revolution do exist-from directors in Haiti, the US, France, and elsewhere. Slave Revolt on Screen offers the first-ever comprehensive analysis of Haitian Revolution cinema, including completed films and planned projects that were never made. In addition to studying cinema, this book also breaks ground in examining video games, a pop-culture form long neglected by historians. Sepinwall scrutinizes video game depictions of Haitian slave revolt that appear in games like the Assassin's Creed series that have reached millions more players than comparable films. In analyzing films and games on the revolution, Slave Revolt on Screen calls attention to the ways that economic legacies of slavery and colonialism warp pop-culture portrayals of the past and leave audiences with distorted understandings.

This book explores, from a sociological perspective, the relationship between acting as symbolic work and the commercialization of popular culture. Particular attention is paid to the social conditions that gave rise to stardom in the theatre and cinema, and how shifts in the marketing of stars have impacted upon contemporary celebrity culture.

To date, there is but a handful of articles on documentary films from Taiwan. This volume seeks to remedy the paucity in this area of research and conduct a systematic analysis of the genre. Each contributor to the volume investigates the various aspects of documentary by focusing on one or two specific films that document social, political and cultural changes in recent Taiwanese history. Since the lifting of martial law, documentary has witnessed a revival in Taiwan, with increasing numbers of young, independent filmmakers covering a wide range of subject matter, in contrast to fiction films, which have been in steady decline in their appeal to local, Taiwanese viewers. These documentaries capture images of Taiwan in its transformation from an agricultural island to a capitalist economy in the global market, as well as from an authoritarian system to democracy. What make these documentaries a unique subject of academic inquiry lies not only in their exploration of local Taiwanese issues but, more importantly, in the contribution they make to the field of non-fiction film studies. As the former third-world countries and Soviet bloc begin to re-examine their past and document social changes on film, the case of Taiwan will undoubtedly become a valuable source of comparison and inspiration. These Taiwanese documentaries introduce a new, Asian perspective to the wealth of Anglo-American scholarship with the potential to serve as exemplar for countries undergoing similar political and social transformations. Documenting Taiwan on Film is essential reading for all those interested in Taiwan Studies, film studies and Asian cinema.

From Andy Warhol's Factory films to Roger Corman's exploitation productions to contemporary features backed by Hollywood studio subdivisions, American independent cinema has undergone several incarnations since its emergence as a politically charged underground movement in the 1960s. Today, with high-profile Academy Award nominations and an increasing number of big-name actors eager to sign on to promising projects, these films garner more interest than ever before. Newly revised and expanded, the "Directory of World Cinema: American Independent 2" extends its chronicle of the independent sector's rise as an outlet for directors who both challenge the status quo and enjoy considerable box office appeal--without sacrificing critical legitimacy. In addition to essays on such genres as African-American films, documentary, and queer cinema, this volume features new sections devoted to "brutal youth," dream factory, religion, and war movies. It also includes one hundred and fifty reviews of significant American independent films--ranging from such cult classics as "Faces," "My Hustler," and "Supervixens" to recent releases like "Drive," "Mysterious Skin, " and "Win Win." In addition to interviews with and profiles of influential directors, a wide array of color illustrations and a range of suggested research resources round out the "Directory of World Cinema: American Independent 2." At a time when independent films are enjoying considerable cultural cachet, this easy-to-use yet authoritative guide will find an eager audience among media historians, film studies scholars, and movie buffs alike.

In this innovative work of cultural history, Simon Sigley tells the story of film culture in New Zealand from the establishment of the Auckland Film Society in the 1920s to the present day.

Rather than focusing on the work of individual filmmakers, Sigley approaches cinema as a form of social practice. He examines the reception of international film theories and discourses and shows how these ideas helped to shape distinct cultural practices, including new forms of reviewing; new methods of teaching; and new institutions such as film societies, art house cinemas, and film festivals. He goes on to trace the emergence in New Zealand of the full range of activities and institutions associated with a sophisticated film culture--including independent distribution and exhibition networks, film archives, university courses, a local feature film industry, and liberalized film censorship. In doing so, Sigley makes a significant contribution to our understanding of the myriad ways film can shape our thinking, our icons, our institutions, and our conversations. A fascinating case history of how a culture can develop, " Transnational Film Culture in New Zealand "will be a welcome addition to the bookshelves of anyone interested in film culture and cultural history.

Like many other cultural commodities, films and TV shows tend to work in such a way as to obscure the conditions under which they are produced, a process that has been reinforced by dominant trends in the practice of Film and Television Studies.
This collection places the workplace experiences of industry workers at centre stage. It looks at film and television production in a variety of social, economic, political, and cultural contexts. The book provides detailed analyses of specific systems of production and their role in shaping the experience of work, whilst also engaging with the key theoretical and methodological questions involved in film and television production. Drawing together the work of historians, film scholars, and anthropologists, it looks at film and television production not only in Hollywood and Western Europe but also in less familiar settings such as the Soviet Union, India, Nigeria, and the Democratic Republic of Congo.
Chronologically wide-ranging, interdisciplinary and international in scope, it is a unique introduction, critical for all students of the film indutries and film production.

Since the 1990s, filmmakers in Turkey have increasingly explored notions of gender, genre, cultural memory, and national and transnational identity. Taking these themes as its starting point, this book--the first English-language directory of Turkish films--provides an extensive historical overview the country's cinema since the early 1920s. In chapters organized by genre--such as fantasy and science fiction, contemporary blockbusters, women's films, Istanbul films, and transnational or accented cinema--leading scholars of Turkish cinema offer reflections on the country's most important film movements and filmmakers. In the process, they illuminate the industrial, cultural, and political contexts in which the films they address were produced, exhibited, and circulated. The resulting volume, which includes a comprehensive filmography and recommendations for those interested in further exploration, will be an indispensible reference for scholars and students of Turkish cinema.

No society is without crime, prompting Nathaniel Hawthorne's narrator to make his famous statement in "The Scarlet Letter "that, however high its hopes are, no civilization can fail to allot a portion of its soil as the site of a prison. Crime has also been a prevailing, common theme in films that call us to consider its construction: How do we determine what is lawful and what is criminal? And how, in turn, does this often hypocritical distinction determine society?
Film, argues Carl Freedman, is an especially fruitful medium for considering questions like these. With" Versions of Hollywood Crime Cinema," he offers a series of critical readings spanning several genres. From among the mob movies, Freedman focuses on Francis Ford Coppola's "Godfather" trilogy--arguably the foremost work of crime cinema--crafting a convincing argument that the plot's action is principally driven by the shift from Sicily to America, which marks the shift to a capitalist society. Turning his attention to other genres, Freedman also looks at film noir and Westerns, in addition to films for which crime is significant but not central, from horror movies like Stanley Kubrick's "The Shining" to science fiction and social realist films like "The Grapes of Wrath." In recent years, television has welcomed innovative works like "Boardwalk Empire, The Wire," and "The Sopranos," and Freedman discusses how television's increasingly congenial creative environment has allowed it to turn out productions whose ability to engage with these larger social questions rivals that of films from the height of cinema's Golden Age.

Documentary has never attracted such audiences, never been produced with such ease from so many corners of the globe, never embraced such variety of expression. The very distinctions between the filmed, the filmer and the spectator are being dissolved. The Act of Documenting addresses what this means for documentary's 21st century position as a genus in the "class" cinema; for its foundations as, primarily, a scientistic, eurocentric and patriarchal discourse; for its future in a world where assumptions of photographic image integrity cannot be sustained. Unpacked are distinctions between performance and performativy and between different levels of interaction, linearity and hypertextuality, engagement and impact, ethics and conditions of reception. Winston, Vanstone and Wang Chi explore and celebrate documentary's potentials in the digital age.

Screenwriting Poetics and the Screen Idea is a new and original investigation into how screenwriting works, showing how to understand, study and research screenwriting and screen narrative production. It explores three facets - the practices, the creative 'poetics' and the texts - to re-conceptualise and join together our understanding of screenwriting and development. These facets serve the 'screen idea', that sense of something that might become a film or television show, and the focus for the beliefs and received wisdom behind the poetics. Macdonald applies a range of film, media and creative theories to the study and research of screenwriting, and includes three new, original case studies: story development in the successful ITV soap Emmerdale, the silent film work of Hitchcock's first major screenwriter Eliot Stannard, and David Lean's last, unfinished 'magnum opus', Nostromo.

This is an exploration of the cultural representations of transvestism and transsexuality in modern screen media against a historical background. Focussing on a dozen mainstream films and on shemale Internet pornography, this fascinating study demonstrates the interdependency of our perceptions of transgender and its culturally constructed images.

Showcasing the unique costumes featured in the Star Trek franchise, from Mr. Spock's Starfleet uniform to Uhura's mirror universe ensemble. The book features a wardrobe gallery that explores beautiful and innovative fashions from the various film and television versions of Star Trek, including different iterations of the Starfleet uniform, exquisitely designed alien garb, and much, accompanied by exclusive interviews with costume designers and experts

This provocative collection elaborates a trans-cultural definition of being a woman in struggle. Looking at the films of women directors in countries in the Mediterranean rim, this book spurs a contemporary discussion of women's human, civil, and social rights while situating feminist arguments on women's identity, roles, psychology and sexuality. Although their methodologies are diverse, these artists are united in their use of cinema as a means of intervention, taking on the role as outspoken and leading advocates for women's problems. Contributors examine the ways in which cinematic art reproduces and structures the discourses of realism and represents Mediterranean women's collective experience of struggle.

Although Ida Lupino is best known as a leading actress in many Hollywood B movies, her work as a filmmaker has been neglected by critics, historians, and audiences. In the late 1940s, Lupino turned writer, producer, and director in her own independent production company. The films she made, beginning with "Not Wanted" in 1949, were low-budget pictures taking an uncompromising approach to controversial subject matter -- unmarried motherhood, disability, rape, bigamy. Lupino is exceptional as the only woman to have directed a visible body of films in the male-dominated Hollywood of the 1950s. The continuation of that directorial career in television throughout the 1960s strengthens the claim that Lupino is the most prolific and creatively powerful woman director ever to have worked in the moving image industry.

This book is the first extensive critical study of Ida Lupino's work as a director in both film and television. It features in-depth essays on each of the films she directed and on her work in television (including such popular series as The Fugitive and The Twilight Zone), with the most complete credit listing yet published of her television work. Viewing Lupino's oeuvre in historical, social, industrial, and aesthetic contexts, all the contributors demonstrate that the work repays informed and sensitive readings and many consider it in light of contemporary feminist debates on cinema. Queen of the B's is a long overdue reassessment of an important and pioneering director.

In order to be able to protect human rights, it is first necessary to see the denial of those rights. Aside from experiencing human rights violations directly, either as a victim or as an eyewitness, more than any other medium film is able to bring us closer to this aspect of the human experience. Yet, notwithstanding its importance to human rights, film has received virtually no scholarly attention and thus one of the primary goals of this book is to begin to fill this gap. From an historical perspective, human rights were not at all self-evident by reason alone, but had to gain standing through an appeal to human emotions found in novels as well as in works of moral philosophy and legal theory. Although literature continues to play an important role in the human rights project, film is able to take us that much further, by universalizing the particular experience of others different from ourselves, the viewers. "Watching Human Rights" analyzes more than 100 of the finest human rights films ever made documentaries, feature films, faux documentaries, animations, and even cartoons. It will introduce the reader to a wealth of films that might otherwise remain unknown, but it also shows the human rights themes in films that all of us are familiar with.Features of the text: "