LIMITED FIRST EDITION contains red foil gilded page edges, foil cover elements, and a black satin ribbon marker. As featured in Rolling Stone, Entertainment Weekly, MovieMaker, SYFY, Fangoria, SFX, Mental Floss, Total Film, and more! How did a low-budget British movie about Londoners battling zombies in a pub become a beloved global pop culture phenomenon? You've Got Red on You details the previously untold story of 2004's Shaun of the Dead, the hilarious, terrifying horror-comedy whose fan base continues to grow and grow. After consulting dozens of the people involved in the creation of the film, author Clark Collis reveals how a group of friends overcame seemingly insurmountable odds to make a movie that would take bites out of both the UK and the US box office before ascending to the status of bona fide comedy classic. Featuring in-depth interviews with director Edgar Wright, producer Nira Park, and cast members Simon Pegg, Nick Frost, Kate Ashfield, Bill Nighy, Lucy Davis, and Coldplay singer Chris Martin, the book also boasts a treasure trove of storyboards, rare behind-the-scenes photos, and commentary from famous fans of the movie, including filmmakers Quentin Tarantino and Eli Roth, Walking Dead executive producer Greg Nicotero, and World War Z author Max Brooks. As Pegg's zombie-fighting hero Shaun would say, "How's that for a slice of fried gold?"

Gender-Based Violence in Latin American and Iberian Cinemas rethinks the intersection between violence and its gendered representation. This is a groundbreaking contribution to the international debate on the cinematic construction of gender-based violence. With essays from diverse cultural backgrounds and institutions, this collection analyzes a wide range of films across Latin America and the Iberian Peninsula. The volume makes use of varied perspectives including feminist, postcolonial, and queer theory to consider such issues as the visual configuration of power and inequality, the objectification and the invisibilization of women's and LGBTQ subjects' resistance, the role of female film-makers in transforming hegemonic accounts of violence, and the subversion of common tropes of gendered violence. This will be of significance for students and scholars in Latin American and Iberian studies, as well as in film studies, cultural studies, and gender and queer studies.

Straight Skin, Gay Masks and Pretending to Be Gay on Screen examines cinematic depictions of pretending-to-be-gay, assessing performances that not only reflect heteronormative and explicitly homophobic attitudes, but also offer depictions of gay selfhood with more nuanced multidirectional identifications. The case of straight protagonists pretending to be gay on screen is the ideal context in which to study unanticipated progressivity and dissidence in regard to cultural construction of human sexualities in the face of theatricalized epistemological collapse. Teasing apart the dynamics of depictions of both sexual stability and fluidity in cinematic images of men pretending to be gay offers new insights into such salient issues as sexual vulnerability and dynamics and long-term queer visibility in a politically complicated mass culture which is mostly produced in a heteronormative and even hostile cultural environment. Additionally, this book initially examines queer uses of sexuality masquerade in Alternate Gay World Cinema that allegorically features a world pretending to be gay, in which straights are harassed and persecuted, in order to expose the tragic consequences of sexual intolerance. Films and TV series examined as part of the analysis include The Gay Deceivers, Victor/Victoria, Happy Texas, William Friedkin's Cruising and many other straight and gay screens. This is a fascinating and important study relevant to students and researchers in Film Studies, Media Studies, Gender Studies, Queer Studies, Sexuality Studies, Communication Studies and Cultural Studies.

'England? It seemed to be raining the whole time . . . Or maybe it was me' MARILYN MONROE In July 1956, Marilyn Monroe arrived in London, on honeymoon with her husband Arthur Miller, to make The Sleeping Prince (later released as The Prince and the Showgirl) with Laurence Olivier. When the couple arrived at London Airport, they were looking forward to a peaceful stay. Marilyn would work during the day at Pinewood Studios, while Arthur would write. Then, in the evening, the couple would be able to relax together in their private English country cottage. It didn't quite turn out that way. The 'cottage' was actually a mansion, which belonged to Lord Drogheda, the managing director of the Financial Times. Raised in tiny hotel rooms and apartments, Marilyn felt herself being watched. She was, by Lord Drogheda's servants, who were selling stories to the papers. When filming began, it was a disaster. Director Joshua Logan had written to Olivier, offering advice on how to handle Marilyn as an actress, but Olivier ignored him. Instead, he condescended to her in his introduction to the cast, pooh-poohed her views on acting, and dismissed her stage-fright as an inconvenience. Marilyn grew to hate Olivier with a passion; the feeling was mutual. Marilyn found herself torn between settling into married life, being a curiosity for the frequently hostile British press, and her work on The Prince and the Showgirl. She took solace in small acts of kindness from members of the public, and a new fascination with Queen Elizabeth. Marilyn made a point of adopting some of the Queen's favourite brands, buying gloves from Cornelia James, perfume from Floris, and switching from Chanel No. 5 to Yardley's Lavender. Marilyn made a point of asking the film's PR manager to add a royal meeting to her schedule, but each day Olivier would delete the request. Michelle Morgan describes Marilyn's trip to late-1950s' Britain in evocative detail, exploring the making of the film alongside the film star's troubled private life and her quest to meet the Queen.

This follow-up to the classic text of The Monstrous-Feminine analyses those contemporary films which explore social justice issues such as women's equality, violence against women, queer relationships, race and the plight of the planet and its multi-species. Examining a new movement - termed by Creed as Feminist New Wave Cinema - The Return of the Monstrous-Feminine explores a significant change that has occurred over the past two decades in the representation of the monstrous-feminine in visual discourse. The Monstrous-Feminine is a figure in revolt on a journey through the dark night of abjection. Taking particular interest in women directors who create the figure of the Monstrous-Feminine, in cinema that foregrounds everyday horrors in addition to classic horror, Creed looks at a range of diverse films including The Babadook, A Girl Walks Home Alone at Night, Nomadland, Carol, Raw, Revenge, and the television series The Handmaid's Tale. These films center on different forms of revolt, from inner revolt to social, supernatural and violent revolt, which appear in Feminist New Wave Cinema. These relate in the main to the emergence of a range of social protest movements that have gathered momentum in the new millennium and given voice to new theoretical and critical discourses. These include: third and fourth wave feminism, the #MeToo movement, queer theory, race theory, the critique of anthropocentrism and human animal theory. These theoretical discourses have played a key role in influencing Feminist New Wave Cinema whose films are distinctive, stylish and diverse. This is an essential companion to the original classic text and is ideal for students in Gender and Media, Gender and Horror, Gender and Film and Feminist Film theory courses.

- Offers a clear concise look at the media production process - from conception of the idea to marketing the final end product. - Includes real advice from professionals in the field about new theories and practices that are actually being used in the industry. - Covers the marketing, social media, financing, and measurement aspects of the media field in an approachable and easy to replicate way.

Focuses primarily on studies of cultural production, cultural power, knowledge systems, and human experiences within the media technologies and practices that image, imagine, and construct urban environments and vice versa. Approach to the study of media in urban environments draw directly from humanities disciplines such as film and media studies, cultural studies, history, literature, and area studies. Synthesizes and expands many of the arguments, themes, and conclusions presented in previous works.

The Routledge Handbook of Japanese Cinema provides a timely and expansive overview of Japanese cinema today, through cutting-edge scholarship that reflects the hybridity of approaches defining the field. The volume's twenty-one chapters represent work by authors with diverse backgrounds and expertise, recasting traditional questions of authorship, genre, and industry in broad conceptual frameworks such as gender, media theory, archive studies, and neoliberalism. The volume is divided into four parts, each representing an emergent area of inquiry: "Decentring Classical Cinema" "Questions of Industry" "Intermedia as an Approach" "The Object Life of Film" This is the first anthology of Japanese cinema scholarship to span the temporal framework of 200 years, from the vibrant magic lantern culture of the nineteenth century, through to the formation of the film industry in the twentieth century, and culminating in cinema's migration to gaming, surveillance video, and other new media platforms of the twenty-first century. This handbook will prove a useful resource to students and scholars of Japanese studies, film studies, and cultural studies more broadly.

This book explores the representation of the idea or theme of redemption in contemporary, popular film. The discussion focuses primarily on the work of three directors - Clint Eastwood, Martin Scorsese and Kore-eda Hirokazu - but also considers a few films from other directorial hands. David Rankin divides the notion of personal redemption into transactional and transformational aspects, differentiating between redemption, understood as that which is external to the person but impacting on their being and environment, and that which is internal to the person. Redemption is viewed broadly as a journey from brokenness to wholeness, from imprisonment to release, or from some form of slavery to freedom. Both secular and religious (especially Christian) understandings of the notion are discussed, and consideration is given to how the former might inform the latter.

This book analyses how independent filmmakers from Bangladesh have represented national identity in their films. The focus of this book is on independent and art house filmmakers and how cinema plays a vital role in constructing national and cultural identity. The authors examine post-2000 films which predominantly deal with issues of national identity and demonstrate how they tackle questions of national identity. Bangladesh is seemingly a homogenous country consisting 98% of Bengali and 90% of Muslim. This majority group has two dominant identities - Bengaliness (the ethno-linguistic identity) and Muslimness (the religious identity). Bengaliness is perceived as secular-modern whereas Muslimness is perceived as traditional and conservative. However, Bangladeshi independent and art house filmmakers portray the nationhood of the country with an enthusiasm and liveliness that exceeds these two categories. In addition to these categories, the authors add two more dimensions to the approach to discuss identity: Popular Religion and Transformation. The study argues that these identity categories are represented in the films, and that they both reproduce and challenge dominant discourses of nationalism. Providing a new addition to the discourse of contemporary national identity, the book will be of interest to researchers studying international film and media studies, independent cinema studies, Asian cinema, and South Asian culture, politics, and identity politics.

Celebrate the holidays with Harry, Ron, and Hermione with this magical advent calendar book filled with more than twenty-five Wizarding World surprises. Harry Potter: Holiday Magic: The Official Advent Calendar Book takes readers into the Wizarding World and shows iconic moments from the beloved Harry Potter films. With twenty-five days of surprises, unique keepsakes, and collectibles ranging from festive paper ornaments to Harry Potter-inspired recipe cards and more, this advent calendar book is a must-have for Harry Potter fans of all ages. Magical, fun, and unique, Harry Potter: Holiday Magic: The Official Advent Calendar Book is the perfect way to capture the holiday memories from the Wizarding World, and to create your own. DISCOVER MORE THAN 25 HARRY POTTER SURPRISES: Discover a new holiday surprise every day! Buttons, recipe cards, and many other holiday surprises are just some of the memorable gifts waiting behind each of the 25 doors. COUNTDOWN TO CHRISTMAS: With 25 days of removable collectibles themed to the Harry Potter films, countdown to Christmas by opening the door to a surprise each day from December 1st through 25th. THE PERFECT HARRY POTTER STOCKING STUFFER: This 25-day advent calendar book will add a dash of Wizarding World magic to the holiday season for every Harry Potter fan. COMPLETE YOUR HARRY POTTER CHRISTMAS COLLECTION: Pair with Harry Potter: Christmas at Hogwarts and Harry Potter: Christmas Sweater Blank Boxed Note Cards.

This exciting and original volume offers the first comprehensive critical study of the recent profusion of European films and television addressing sexual migration and seeking to capture the lives and experiences of LGBTIQ+ migrants and refugees. Queering the Migrant in Contemporary European Cinema argues that embodied cinematic representations of the queer migrant, even if at times highly ambivalent and contentious, constitute an urgent new repertoire of queer subjectivities and socialities that serve to undermine the patrolled borders of gender and sexuality, nationhood and citizenship, and refigure or queer fixed notions and universals of identity like 'Europe' and national belonging based on the model of the family. At stake ethically and politically is the elaboration of a 'transborder' consciousness and aesthetics that counters the homonationalist, xenophobic and homo/trans-phobic representation of the 'migrant to Europe' figure rooted in the toxic binaries of othering (the good vs bad migrant, host vs guest, indigenous vs foreigner). Bringing together 16 contributors working in different national film traditions and embracing multiple theoretical perspectives, this powerful and timely collection will be of major interest to both specialists and students in Film and Media Studies, Gender and Queer Studies, Migration/Mobility Studies, Cultural Studies, and Aesthetics.

Sport and film have historically been key components of national cultures and societies. This is the first collection dedicated to examining the intersection of these popular cultural forces within specific national contexts. Covering films of all types, from Hollywood blockbusters to regional documentaries and newsreels, the book considers how filmic depictions of sport have configured and informed distinctive national cultures, societies and identities. Featuring case studies from 11 national contexts across 6 continents - including North and South America, Europe, Africa, Asia and Oceania - it reveals the common and contrasting approaches that have emerged within sport cinema in differing national contexts. This is fascinating and important reading for all students and researchers working in film, media, cultural studies or sport, and for broader enthusiasts of both sport and film.

This book is the first of its kind to bring basic notions of contemporary physics to bear on African cine-scapes. In this book, renowned African cinema scholar Kenneth W. Harrow presents unique new ways to think about space and time in film, with a specific focus on African and African diasporic cinema. Through a series of case studies, he explores how cinema creates and represents time and space and, more specifically, how a cinema centered in African landscapes and figures accomplishes this. He reflects on the issues and problems posed by scientists when faced with the basic questions of what space and time are and their solutions or conclusions, giving both film studies and African studies scholars access to new ways to formulate their thinking about African cine-scapes. Working beyond the limits of a framework based in a postcolonial and cultural understanding of time and space, Harrow demonstrates how a scientific understanding of time and space can open up new approaches to African cinema and cinema in general. A unique, interdisciplinary book that encourages brand new ways to approach cinematic texts and, specifically, African cine-scapes.

Like founder Godric Gryffindor, the members of Hogwarts's Gryffindor house, including Harry Potter, Ron Weasley, and Hermione Granger, are known for their bravery, courage, and determination. Now you can capture the magic of Gryffindor house like never before and collect a stunning array of artifacts inspired by the Harry Potter films. Inside, fans will learn about all things Gryffindor, relive moments from the films, and delve into the behind-the-scenes magic that brought Harry Potter to life on the big screen.

-Offers a practical guide to using the tools of narrative cinema in nonfiction film, focusing on storytelling as it applies to every part of the filmmaking process. -5th edition is updated to include new examples, increased coverage of documentary ethics and research for nonfiction film (especially using web-based material), an exploration of short-form nonfiction forms, and new interviews, giving documentary filmmakers the tools to make effective, ethically-responsible films for a range of different audience types. -Interviews with award-winning documentary filmmakers including Stanley Nelson (The Black Panthers), Orlando von Einsiedel (Virunga), and Cara Mertes (JustFilms), and [tbc - new names], offering contemporary insight into the craft.

Exam Board: AQA, Edexcel & WJEC Level: AS/A-level Subject: Modern Languages First Teaching: September 2017 First Exam: June 2018 Film analysis made easy. Build your students' confidence in their language abilities and help them develop the skills needed to critique their chosen work: putting it into context, understanding the themes and director's technique, as well as specialist terminology. Breaking down each scene, character and theme in Volver, this accessible guide will enable your students to understand the historical and social context of the film and give them the critical and language skills needed to write a successful essay. - Strengthen language skills with relevant grammar, vocab and writing exercises throughout - Aim for top marks by building a bank of textual examples and quotes to enhance exam response - Build confidence with knowledge-check questions at the end of every chapter - Revise effectively with pages of essential vocabulary and key mind maps throughout - Feel prepared for exams with advice on how to write an essay, plus sample essay questions, two levels of model answers and examiner commentary

As film students and younger fans experience "Big Hollywood Sound" in Imax presentations and digital theaters, many are also discovering action and adventure movies made well before they were born. There is a legacy to be enjoyed in the sound of these films: Blockbuster movies of the '80's, and '90's are notable for the extraordinarily dramatic impact of their sound mixing, and the way in which it could immerse audiences in a surrounding space. During this period, a small group of sound professionals in Hollywood wrote and published a critical journal about the craftsmanship, new technology, and changing aesthetics that excited conversation in their community. Their work has been edited and compiled here for the first time. David Stone is a sound editor, a veteran of roughly 100 Hollywood feature films, such as Gremlins, Top Gun, Die Hard, Speed, and Ocean's 11. He was a Supervising Sound Editor for projects as varied as Predator, Edward Scissorhands, Beauty and the Beast, Batman Returns, City Slickers 2, and Dolores Claiborne. He has collected Golden Reel awards for Best Sound Editing five times, and won the 1992 Academy Award (R) for best Sound Effects Editing, for his supervising work on Bram Stoker's Dracula. In 2015, he received a Lifetime Achievement Award from the San Luis Obispo Jewish Film Festival in California. Stone is now a Professor and former Chair of Sound Design at Savannah College of Art and Design. Between 1989 and 1994, he was the editor of Moviesound Newsletter, which was published by Vanessa Ament. Dr. Vanessa Theme Ament is the author of The Foley Grail, and a contributor to Sound: Dialogue, Music, and Effects (the Silver Screen Series). She is on the steering committee for Cinesonika, an international film festival and conference. A veteran Foley artist, sound editor, and voice actor from Los Angeles, she also writes and sings jazz, and is a member of the American Federation of Musicians, SAG-AFTRA, Actors Equity, and the Editors Guild. She worked on Die Hard, sex, lies, and videotape, Platoon, Predator, Edward Scissorhands, Beauty and the Beast, Noises Off, and A Goofy Movie, and many other films. Dr. Ament received her Ph.D. in Communication, in the area of Moving Image Studies, from Georgia State University in Atlanta, and is presently the Edmund F. and Virginia B. Ball Endowed Chair Professor of Telecommunications, at Ball State University in Muncie, Indiana.

Hill Valley may have changed a lot over the years, but the idyllic town of the beloved Back to the Future movies is a treat to visit in any time period. Divided into five chapters, this quirky cookbook explores the complicated history of Hill Valley through the best possible medium: food. Start your culinary journey in good ol' 1985 with some delicious American comfort food, then travel back to 1955 for some classic diner cuisine. Jump to the far future of 2015 and nosh on some dehydrated pizza. Things might get a little greasy in Biff's alternative, dystopian 1985, but the hardy frontier food of 1885 will keep you going through shoot-outs, train robberies, and whatever else the Wild West has to throw at you. Featuring full-color photography, alternative ingredient suggestions, and helpful notes from some of your favorite characters (Hi, Doc!), this time-hopping, genre-defying cookbook is the perfect gift for foodies, home cooks, and Back to the Future fans of all ages!

Great Scott! A magnetic version of the hoverboard from the Back to the Future films, complete with Marty McFly-styled sneakers for your fingers. The Back to the Future: Magnetic Hoverboard kit includes a mini magnetic hoverboard inspired by the one featured in the films, along with a pair of Marty McFly-styled sneakers that magnetically attach and detach. Kit also includes a collectable magnet featuring movie art and a base to display the hover board.

- Argues how and why that the interactive documentary is uniquely positioned as a sphere for decolonization in relation to access, authority, and audience. - Features international and intersectional perspectives and actively gives a voice to emerging scholars and practitioners working outside the margins. - Offers a key contribution to the important, and vocal, debates within the field about how to avoid replicating colonial practices and privileging.

This book provides a framework by which a global audience might think theologically about contemporary films produced in mainland China by Chinese directors. Up to this point the academic discipline of Christian theology and film has focussed predominantly on Western cinema, and as a result, has missed out the potential insights offered by Chinese spirituality on film. Mainland Chinese films, produced within the nation's social structure, offer an excellent lingua franca of China. Illuminating the spiritual imagination of Chinese filmmakers and their yearning for transcendence, the book uses Richard A. Blake's concept of afterimage to analyse the potential theological implications of their films. It then brings Jurgen Moltmann's "immanent-transcendence" and Robert K. Johnston's "God's wider Presence" into conversation with Confucianist and Daoist ideas of there being, spirituality-speaking, "More in Life than Meets the Eye" than simply material existence. This all combines to move beyond film and allow for a Western audience to gain a new perspective on Chinese culture and traditions. One that uses familiar Western terms, while avoiding the imposition of a Western mindset. This is a new perspective on cinema, religion and Chinese culture that will be of keen interest to scholars of Religion and Film, Religious Studies, Theology, Sociology of Religion and Chinese Studies.

Corporate Wrongdoing on Film: The 'Public Be Damned' provides a unique and ground-breaking analysis of corporate wrongdoing depictions, identifying, describing, and categorizing harms perpetrated by corporations. The book provides a history of corporate wrongdoing in film, from the silent film to the present day. Early films are summarized and discussed within the historical, social and political contexts in which they were released. Examining films produced after 1979, the book classifies them by corporate harms to the environment, workers, consumers, and the economy. The book includes a discussion of well over 100 films, from obscure television movies to Hollywood blockbusters. Finally, the book concludes with a narrative analysis exploring the depiction of the protagonists, antagonists, and victims within the corporate wrongdoing film. Detailed and accessible, Corporate Wrongdoing on Film: The 'Public Be Damned' will be of great interest to scholars and students of Criminology and Film and Media Studies.

Winner of 3 Oscars [registered] and the highest grossing film of its time, "Jaws" was a phenomenon, and this is the only book on how 26-year-old Steven Spielberg transformed Peter Benchley's best-selling novel into the classic film it became. Hired by Spielberg as a screenwriter to work with him on the set while the movie was being made, Carl Gottlieb, and actor and writer, was there throughout the production that starred Roy Scheider, Robert Shaw, and Richard Dreyfuss. After filming was over, with Spielberg's cooperation, Gottlieb chronicled the extraordinary year-long adventure in "The Jaws Log", which was first published in 1975, generating 17 printings and selling more than 2 million copies. This paperback edition includes an introduction by Carl Gottlieb, an introduction by Peter Benchley, and 36 black and white photos.