"This book has no scholarly equivalent in English." . Choice

The Nazis saw film as a major vehicle for both indoctrination and escapist pacification of the "masses"; in fact, Propaganda Minister Joseph Goebbels tried to create a German counter-Hollywood. This highly acclaimed study, by one of Germany's leading commentators and authors on cultural policy, analyses the pictorial and spoken language of the various film genres in the Third Reich, including news reels, documentaries, feature and "cultural" films. It shows how a powerful and sinister propaganda machine emerged which, by deploying a wide range of psychological techniques, exerted a strong fascination on the masses. These methods were so successful that they continue to serve as models for totalitarian regimes to this day.

When collective memory is a source of national debate, the public representation of history quickly becomes a locus of controversy and ideological struggle. "Remembering the Occupation in French Film "explores French identity as it is articulated through cultural representations of Occupied France in French film. This work shows how French film has allowed for a public airing of current concerns through the lens of memory's recreations of the Occupation. By focusing on the representation of women as the symbol of a collective identity crisis, the author links France's traditional female icon, Marianne, to the multiple unresolved ambiguities that have continued to plague France's historical reckoning with the war.

Three decades of societal and cultural alignment of new media have yielded a host of innovations, trials, and problems, accompanied by versatile popular and academic discourse. New Media Studies crystallized internationally into an established academic discipline, and this begs the question: where do we stand now? Which new questions are emerging now that new media are being taken for granted, and which riddles are still unsolved? Is contemporary digital culture indeed all about 'you', the participating user, or do we still not really understand the digital machinery and how this constitutes us as 'you'? The contributors to the present book, all employed in teaching and researching new media and digital culture, assembled their 'digital material' into an anthology, covering issues ranging from desktop metaphors to Web 2.0 ecosystems, from touch screens to blogging and e-learning, from role-playing games and cybergothic music to wireless dreams. Together the contributions provide a showcase of current research in the field, from what may be called a 'digital-materialist' perspective.

A series of linked essays examines films, stars and genres in the process of the establishment and definition of a British national identity, not only in cinema but also in other cultural forms such as music, literature, and television. 36 illustrations.

This book is concerned with the concept of 'technocrime'. The term encompasses crimes committed on or with computers - the standard definition of cybercrime - but it goes well beyond this to convey the idea that technology enables an entirely new way of committing, combating and thinking about criminality, criminals, police, courts, victims and citizens. Technology offers, for example, not only new ways of combating crime, but also new ways to look for, unveil, and label crimes, and new ways to know, watch, prosecute and punish criminals. Technocrime differs from books concerned more narrowly with cybercrime in taking an approach and understanding of the scope of technology's impact on crime and crime control. It uncovers mechanisms by which behaviours become crimes or cease to be called crimes. It identifies a number of corporate, government and individual actors who are instrumental in this construction. And it looks at the beneficiaries of increased surveillance, control and protection as well as the targets of it. Chapters in the book cover specific technologies (e.g. the use of CCTV in various settings; computers, hackers and security experts; photo radar) but have a wider objective to provide a comparative perspective and some broader theoretical foundations for thinking about crime and technology than have existed hitherto. This is a pioneering book which advances our understanding of the relationship between crime and technology, drawing upon the disciplines of criminology, political science, sociology, psychology, anthropology, surveillance studies and cultural studies.

Sport offers everything a good story should have: heroes and villains, triumph and disaster, achievement and despair, tension and drama. Consequently, sport makes for a compelling film narrative and films, in turn, are a vivid medium for sport. Yet despite its regularity as a central theme in motion pictures, constructions and representations of sport and athletes have been marginalised in terms of serious analysis within the longstanding academic study of films and documentaries. In this collection, it is the critical study of film and its connections to sport that are examined. The collection is one of the first of its kind to examine the ways in which sport has been used in films as a metaphor for other areas of social life. Among the themes and issues explored by the contributors are: Morality tales in which good triumphs over evil The representation and ideological framing of social identities, including class, gender, race and nationality The representation of key issues pertinent to sport, including globalization, politics, commodification, consumerism, and violence The meanings 'spoken' by films - and the various 'readings' which audiences make of them This is a timely collection that draws together a diverse range of accessible, insightful and ground-breaking new essays. This book was published as a special issue of Sport in Society.

In 1896, Maxim Gorky declared cinema "the Kingdom of Shadows." In its silent, ashen-grey world, he saw a land of spectral, and ever since then cinema has had a special relationship with the haunted and the ghostly. Cinematic Ghosts is the first collection devoted to this subject, including fourteen new essays, dedicated to exploring the many permutations of the movies' phantoms. Cinematic Ghosts contains essays revisiting some classic ghost films within the genres of horror (The Haunting, 1963), romance (Portrait of Jennie, 1948), comedy (Beetlejuice, 1988) and the art film (Uncle Boonmee Who Can Recall His Past Lives, 2010), as well as essays dealing with a number of films from around the world, from Sweden to China. Cinematic Ghosts traces the archetype of the cinematic ghost from the silent era until today, offering analyses from a range of historical, aesthetic and theoretical dimensions.

This volume brings together perspectives from multimodal stylistics and adaptation studies for a unified theoretical analysis of adaptations of the work of Alice Munro, demonstrating the affordances of the approach in furthering interdisciplinary research at the intersection of these fields The book considers films and television programmes as complex multimodal stylistic systems in and of themselves in order to pave the way for a clearer understanding of screen adaptations as expressions of modal, medial, and aesthetic change. In focusing on Munro, Francesconi draws attention to a writer whose body of work has been adapted widely across television and film for an international market over several decades, offering a diachronic overview and insights into the confluence of socio-cultural contexts, audiences, and dynamics of production and distribution across adaptations. The volume complements this perspective with a microanalysis of the adaptations themselves, exploring the varied creative use of audio-visual dimensions, including sound, light, and movement. The book seeks to overcome simplified fidelity-based understandings of screen adaptations more broadly, showcasing creative multi-layered approaches to a creator's oeuvre to effect true transformation across media and modes. The volume will be of interest to scholars in multimodality, adaptation studies, film studies, and comparative literature.

From Cliff Richard to The Rolling Stones, and from The Beatles to Plan B, pop music has been inseparable from its cinematic exploitation. This book constitutes the first delivered examination of the place of the pop music film in British cinematic and musical history. It explores the way music and film have exerted a mutual influence at an economic, social and artistic level. From The Tommy Steele Story, a cheap and cheerful 'cash in' on what was considered a passing fad, through Richard Lester's innovative and globally successful Beatles vehicles and on to the Jungian artistic maze of Mick Jagger's Performance, the 1950s and 1960s saw pop acts and directors create an entire life-cycle for a new film genre. Thereafter, its intermittent revivals, be it Slade in Flame or the Spice Girls in Spice World, have kept sound and vision inseparable in the public consciousness, revisiting and reshaping our pop and film heritage.

This clearly-written and lively introduction analyses 25 years of popular French film including recent developments in all genres. Reflecting French cinema's diversity since the New Wave, chapters include the Heritage Film; Thrillers; War Movies; Cinema-du-Look; representations of sexuality; women film-makers; and much more. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of individual films from" Les Valseuses" to "Les Visiteurs" and "Delicatessen." Those looking at French film for the first time will have the opportunity to read at length about the internationally renowned work of Cinema-du-Look directors Luc Besson, Jean-Jacques Beineix and Leos Carax, as well as the recent blockbusters of the Heritage genre from "Cyrano de Bergerac "and" Jean de Florette" to "Germinal "and" La Reine Margot." There is also a useful glossary and detailed filmography.

Bring a touch of magic to your reading and writing with set of five Harry Potter magnetic bookmarks.

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The art of the observer is a personal guide to documentary filmmaking, based on the author's years of pioneering work in the fields of ethnographic and documentary cinema. It stands in sharp contrast to books of academic film criticism and handbooks on visual research methods, being based extensively on concrete examples from the author's own filmmaking experience. The book places particular emphasis on observational filmmaking and the ways in which this approach is distinct from other forms of documentary. It offers both practical insights and reflections on what it means, in both emotional and intellectual terms, to attempt to represent the lives of others. The book makes clear that documentary cinema is not simply a matter of recording reality, but of artfully organising the filmmaker's observations in ways that reveal the complex patterns of social life. -- .

Throw the spookiest soiree of the season with this delightful cookbook and entertaining guide inspired by Tim Burton's iconic film The Nightmare Before Christmas. Is it Halloween? Christmas? Your birthday? No matter the occasion, this book will help you take your next dinner or event from routine to inspired-with a little help from Jack Skellington, Sally, Sandy Claws, and all their friends in Halloween Town. This book is divided into two parts. Part one includes over fifty recipes inspired by the movie-with options for sugar-free, gluten-free, and vegetarian guests. Part two includes detailed planning instructions for several complete The Nightmare Before Christmas-themed parties, including crafts for DIY decorations, activities, favors, and more. Bursting with vibrant photography and free downloadable templates for invitations, decorations, and more, this book is a must-have for fans everywhere.

The Nazis saw film as a major vehicle for both indoctrination and escapist pacification of the "masses"; in fact, Propaganda Minister Joseph Goebbels tried to create a German counter-Hollywood. This highly acclaimed study, by one of Germany's leading commentators and authors on cultural policy, analyses the pictorial and spoken language of the various film genres in the Third Reich, including news reels, documentaries, feature and "cultural" films. It shows how a powerful and sinister propaganda machine emerged which, by deploying a wide range of psychological techniques, exerted a strong fascination on the masses. These methods were so successful that they continue to serve as models for totalitarian regimes to this day.

One of Hollywood's towering figures for almost half a century, Darryl F. Zanuck presided over Twentieth Century-Fox during its most glorious era, from 1935 to 1956. These were the golden days when stars like Marilyn Monroe, Henry Fonda, Betty Grable, Shirley Temple, Don Ameche, Gregory Peck, Tyrone Power, Carmen Miranda, and even Bette Davis roamed the lot; when such giants as John Ford, Joseph L. Mankiewicz, Elia Kazan, Nunnally Johnson, and Otto Preminger ruled the sets; and when such blockbusters as The Grapes of Wrath, All About Eve, The King and I, Miracle on 34th Street, The Day the Earth Stood Still, How Green Was My Valley, Laura, Twelve O'Clock High, and Viva Zapata! filled the screen. Rudy Behlmer, whose now-classic Memo from David O. Selznick was called "the most revealing, penetrating book on filmmaking I know" by director King Vidor, performs the same service for Zanuck in this first-time-ever collection of his personal correspondence to the directors, writers, actors, technicians, and studio executives who made the period magical. Here is a from-the-top, at-the-moment, insider's look at the myriad elements that went into the production of a feature film during the colorful days of the old studio system, from the man who pulled it all together. And, like all important histories, Memo from Darryl F. Zanuck is equally revealing about the way things work today. A treasure trove of legend and lore, insights and nostalgia, Memo From Darryl F. Zanuck is as entertaining as it is informative, and full of secrets and surprises. Illustrated with photographs as intimate and candid as the correspondence itself, it offers a chronicle of Hollywood's most glamorous age and rich testimony to the taste, showmanship, and vision of its most resilient, efficient, and entertaining producer.

Policies in the EU are largely made by national civil servants who prepare and implement decisions in Brussels as well as at home. Despite their important role, these national civil servants form a relatively hidden world that has received little attention from both the media and academics. This volume considers a wide variety of sources and research methods to answer such questions as: how many civil servants are actually involved in EU-related activities? What do these civil servants do when they engage with the EU? And how do they negotiate their dual roles? "The New Eurocrats" offers unique and invaluable insight into these civil servants and their working practices--and uncovers some secrets in the world of EU governance along the way.

Bring some stardust to your card table with 54 of the most influential movie directors and stars, arranged into four suits. Hearts = Romance, Clubs = Drama, Diamonds = Crime, Spades = Sci-fi Includes illustrations of all the big names, from Alfred Hitchcock and Orson Welles to Sofia Coppola and Samuel L. Jackson - plus two jokers: Wes Anderson and Charlie Chaplin.

The femme fatale has long been constructed and understood in popular culture and cinema as a beautiful heterosexual Caucasian woman that belongs to film noir and neo-noir. Here, da Silva shows the need to incorporate diverse ethnic groups and male homosexuals into the range of "femmes" fatales. He examines how the Brazilian representations cross genre, gender, race, and class and offer alternative instances (black, slave, homosexual, married, and teenage) to the dominant Hollywood Caucasian model. As with gender performativity, the danger the femme fatale represents to society is constructed rather than being an innate feature. This figure represents areas of cultural anxiety, particularly around issues of sexuality and gender, but da Silva seeks to reframe these issues in the context of Brazilian film.

"The most detailed and up-to-date book on independent cinema, an invaluable reference work." - Molly Haskell, "Washington Post"

"Thoughtful and substantial." - Stuart Klawans, "The Nation"

"An indispensable text for anyone who wants to understand the independent world." - David Ansen of "Newsweek"

"At a time when independent American films are more visible and important than ever before, this is an invaluable study. Emanuel Levy's writing is wise, passionate, and amazingly well-informed." - Roger Ebert

"The time is ripe for an intelligent, informed, well-organized book on the world of independent cinema - and Emanuel Levy has given us just that." - Leonard Maltin

A Los Angeles Times Bestseller

The most important development in American culture of the last two decades is the emergence of independent cinema as a viable alternative to Hollywood. Indeed, while Hollywood's studios devote much of their time and energy to churning out big-budget, star-studded event movies, a renegade independent cinema that challenges mainstream fare continues to flourish with strong critical support and loyal audiences.

Cinema of Outsiders is the first and only comprehensive chronicle of contemporary independent movies from the late 1970s up to the present. From the hip, audacious early works of maverick David Lynch, Jim Jarmusch, and Spike Lee, to the contemporary Oscar-winning success of indie dynamos, such as the Coen brothers ("Fargo"), Quentin Tarentino ("Pulp Fiction"), and Billy Bob Thornton ("Sling Blade"), Levy describes in a lucid and accessible manner the innovation and diversity of American indies in theme, sensibility, and style.

Documenting the socio-economic, political and artistic forces that led to the rise of American independent film, Cinema of Outsiders depicts the pivotal role of indie guru Robert Redford and his Sundance Film Festival in creating a showcase for indies, the function of film schools in supplying talent, and the continuous tension between indies and Hollywood as two distinct industries with their own structure, finance, talent and audience.

Levy describes the major cycles in the indie film movement: regional cinema, the New York school of film, African-American, Asian American, gay and lesbian, and movies made by women. Based on exhaustive research of over 1,000 movies made between 1977 and 1999, Levy evaluates some 200 quintessential indies, including "Choose Me," "Stranger Than Paradise," "Blood Simple," "Blue Velvet," "Desperately Seeking Susan," "Slacker," "Poison," "Reservoir Dogs," "Gas Food Lodging," "Menace II Society," "Clerks," "In the Company of Men," "Chasing Amy," "The Apostle," "The Opposite of Sex," and "Happiness,"

Cinema of Outsiders reveals the artistic and political impact of bold and provocative independent movies in displaying the cinema of "outsiders"-the cinema of the "other America."