This book examines how Shakespeare's plays resurface in current complex TV series. Its four case studies bring together The Tempest and the science fiction-Western Westworld, King Lear and the satirical dynastic drama of Succession, Hamlet and the legal thriller Black Earth Rising, as well as Coriolanus and the political thriller Homeland. The comparative readings ask what new insights the twenty-first-century remediations may grant us into Shakespeare's texts and, vice versa, how Shakespearean returns help us understand topical concerns negotiated in the series, such as artificial intelligence, the safeguarding of democracy, terrorism, and postcolonial justice. This study also proposes that the dramaturgical seriality typical of complex TV allows insights into the seriality Shakespeare employed in structuring his plays. Discussing a broad spectrum of adaptational constellations and establishing key characteristics of the new adaptational aggregate of serial Shakespeare, it seeks to initiate a dialogue between Shakespeare studies, adaptation studies, and TV studies.

Many of our favorite films began as plays--some as well known as Shakespeare's "Romeo and Juliet," and some not so well known as "You've Got Mail"'s origin, a 1937 play "Parfumerie" by Miklos Laszlo. "Video Versions" identifies nearly 300 films and their theatrical origins, providing readers with an overview of the films and highlighting similarities and differences to the source plays. Perfect for teachers, students, and anyone interested in theater and film, it is the most complete resource available for video versions of plays.

Each entry provides: the original play's title, author, and year of publication; the name of the film, year of production, director and adapter; the main cast and the characters they play; running time and rating if available. Following a plot summary, a critical analysis provides the similarities and differences of the play and film, including character and plot changes, setting, missing or added scenes, special film techniques, and behind-the-scenes information such as who turned down or lost particular parts when the play was adapted to film. A short list of sources for further reading follows each entry. Information about contacting distributors--for obtaining the films--is included in the introduction and an extensive index completes the volume.

Certain films seem to encapsulate perfectly the often abstract ethical situations that confront the media, from truth-telling and sensationalism to corporate control and social responsibility. Using these movies--including "Ace in the Hole," "All the President's Men," "Network," and "Twelve Angry Men"--as texts, authors Howard Good and Michael Dillon demonstrate that, when properly framed and contextualized, movies can be a powerful lens through which to examine media practices.

Moreover, cinema can present human moral conduct for evaluation and analysis more effectively than a traditional case study can. By presenting ethical dilemmas and theories within a dramatic framework, "Media Ethics Goes to the Movies" offers a unique perspective on what it means for media professionals to be both technically competent and morally informed.

Visible and Invisible Whiteness examines the complicity between Classical Hollywood narratives or genres and representations of white supremacy in the cinema. Close readings of D.W. Griffith's The Birth of a Nation by James Agee and James Baldwin explore these authors' perspectives on the American mythologies which ground Griffith's film. The intersectionality of Bordwell's theories on Classical Hollywood Narrative versus Art Cinema and Richard Dyer's seminal work on whiteness forms the theoretical base for the book. Featured films are those which have been undervalued or banned due to their hybrid natures with respect to Hollywood and Art Cinema techniques, such as Samuel Fuller's White Dog and Jean Renoir's The Southerner. The book offers comparative analyses of American studio-based directors as well as European and European emigres directors. It appeals to scholars of Film Theory, African American and Whiteness Studies. It provides insight for readers concerned about the re-emergence of white supremacist tensions in contemporary America.

The novel and the film are two modes of representation based on different aesthetic tools, but both are capable of articulating narrative discourses. In "Spanish Film and the Postwar Novel," author Norberto Minguez-Arranz offers a comparative analysis of the methods and mechanisms with which the novel and the film build their stories. A theoretical framework that that puts into perspective such concepts as specificity, representation, and point of view gives way to a comparative study of five Spanish postwar novels and their respective film adaptations: "The Family of Pascual Duarte," "Time of Silence," "The Hive," "El Bosque Animado," and "Nuevas Amistades."

Revealing the existence of cinematic features of the novel and literary features of the cinema, the author examines the ways in which this interdependence has become a permanent aspect of both arts, with mutual influences and a great deal of nonexclusivity of properties. By using this particular time and place as his locus of analytical thought, Minguez-Arranz provides an invaluable examination of two of this century's major creative forms.

This book explores the use of Blockchain and smart contract technologies to develop new ways to finance independent films and digital media worldwide. Using case studies of Alibaba and in-depth, on-set observation of a Sino-US coproduction, as well as research collected from urban China, Hong Kong, Europe, and the USA, Online Film Production in China Using Blockchain and Smart Contracts explores new digital platforms and what this means for the international production of creative works. This research assesses the change in media consciousness from young urban audiences, their emergence as a potential participative and creative community within dis-intermediated, decentralised and distributed crowdfunding and crowdsourcing models. This research proposes solutions on how these young emerging local creative talents can be identified and nurtured early on, particularly those who now produce creative and artistic audiovisual content whether these works are related to film, Virtual Reality (VR), video game, graphic novels, or music. Ultimately, a new media content finance and production platform implementing blockchain is proposed to bring transparency in the film sector and open doors to emerging artists in digital media. Appropriate for both professionals and academics in the film industry as well as computer science.

Reprojecting the City takes a radical new look at the cinematic city through a queer perspective from the global south. Placing centre-stage the intersection of dissident sexuality with capitalism, globalisation and urban development, it shows how recent Latin American films rework our understandings of urban space and disrupt 'Western' imaginations of city life and sexuality in the majority world. Fusing a queer perspective with a range of other critical approaches, Hoff takes current debates beyond the now well-trodden narratives of dependency and subalternity to a new space in which the so-called 'periphery' is relocated back to the centre of things. Latin American cinematic cities, emerge not merely as marginal spaces of prejudice, discrimination, exclusion and violence also ones of hope, empowerment and productive possibility firmly implicated in the global (re)production of sexualities and sexual discourses.

This unique study explores the vampire as host and guest, captor and hostage: a perfect lover and force of seductive predation. From Dracula and Carmilla, to True Blood and The Originals, the figure of the vampire embodies taboos and desires about hospitality, rape and consent. The first section welcomes the reader into ominous spaces of home, examining the vampire through concepts of hospitality and power, the metaphor of threshold, and the blurred boundaries between visitation, invasion and confinement. Section two reflects upon the historical development of vampire narratives and the monster as oppressed, alienated Other. Section three discusses cultural anxieties of youth, (im)maturity, childhood agency, abuse and the age of consent. The final section addresses vampire as intimate partner, mapping boundaries between invitation, passion and coercion. With its fresh insight into vampire genre, this book will appeal to academics, students and general public alike.

This book explores the aesthetic and ethical ways in which history and daily life are filmically represented and witnessed in Taiwanese director Hou Hsiao-hsien's movies. From the era of the Japanese Occupation to the White Horror and then to the lifting of martial law, the author shows how Hou Hsiao-hsien uses visual media to evoke the rhythms of daily life through the emotional memory of the characters and communities he explores. In particular, the book focuses on the ways in which Hou Hsiao-hsien seeks to reflect the strong dilemmas of identity and the traumatic emotions associated with witnessing history. Taking an interdisciplinary approach, it investigates the concepts of daily life, representation and historical trauma in order to focus on how these films represent history and political trauma through the nature of daily life and personal memories, and the resulting historical responsibility and ethics. This is the first academic monography about Hou Hsiao-hsien's films.

I heard the rustle again, too close and too real to ignore. I clutched the flashlight, stuck my head out of the mosquito net... and found myself face-to-face with a jaguar. Four travelers meet in Bolivia and set off into the heart of the Amazon rainforest to find a hidden tribe and explore places tourists only dream of seeing. But what begins as the adventure of a lifetime quickly deteriorates into a dangerous nightmare. After weeks of wandering in the dense undergrowth the group splits up after disagreements, and Yossi and his friend try to find their own way back without a guide. When a terrible rafting accident separates him from his partner, Yossi is forced to survive for weeks alone against one of the wildest backdrops on the planet. Stranded without a knife, map, or survival training, he must improvise shelter and forage for wild fruit to survive. As his feet begin to rot during raging storms, as he loses all sense of direction, and as he begins to lose all hope, he wonders whether he will make it out of the jungle alive. The basis of an upcoming motion picture starring Daniel Radcliffe, "Jungle" is the incredible story of friendship and the teachings of nature, survival and human fortitude and a terrifying true account that you won't be able to put down.

The sex goddess's seemingly endless power to influence and fascinate, to achieve in a sense her own self-reproduction through many decades of "re-makeovers" reveals her positioning in American culture as not only a lasting image but also as a potentially powerful and subversive force. The sex goddess is often thought by feminist film theorists to be little more than a projection of the male imaginary. However, this book makes a necessary correction to this trend by demonstrating how the actresses performing the role of sex goddess in fact use the feminine imaginary to create their own agency. Through their performance of "hyper" femininity, and with their seductive power, they exert control not only over their filmic narrative "targets of seduction" but their viewers as well. The ability to hold their objects of seduction in such thrall suggests that the image of the sex goddess possesses a power far more subversive than what has been previously explored; in fact, to date there has not yet been a critical study of the sex goddess in film. Cinema becomes a place where the sex goddess's designation as sex itself can further suggest her bodily signification as a whole discourse on sex outside of her cinematic representation, thus loading her body to be read almost entirely in terms of sex and its corresponding contemporary social thought. During the period of Classical Hollywood Cinema, the construct of the sex goddess warrants especial attention because of what this study can reveal in broad terms about cultural ideas of feminine sexuality, American cinema, and visual culture. In the first critical study of the sex goddess in film, Jessica Hope Jordan illustrates how Jean Harlow uses her sexualized body to "affect" and seduce viewers away from any primary identification with those characters and their plotlines that are supposed to lead the film, to identifying instead with the kind of sexual empowerment and self-possession her characters consistently display. Linking the idea of sexual empowerment to the filmic and public celebration of hyper-feminine sexuality, the book additionally covers previous feminist discussions of Mae West's performances as "feminist camp" to argue that West sought to both celebrate and embody for women viewers what she viewed as cultural ideals of femininity and women's sexuality. With Lana Turner and the "cinematic code," the book considers the many problems inherent in both the filmic and public celebration of hyper-feminine sexuality in relation to censorship and considers the effects of the Hays Code on hyper-feminine sexuality as depicted in film noir. The book also importantly presents the first critical discussion of the actress Jayne Mansfield, suggesting that her 1950s open acceptance, celebration, and public promotion of her feminine sexuality, both onscreen and off, makes her not only a precursor of the more sexually liberated 60s, but also, like the other actresses discussed here, a kind of prescient performance artist, even theorist, of feminine sexuality in particular, and cultural ideas about sexuality more generally. Beyond recouping her image as feminist, the book demonstrates how the kind of desire aroused by the sex goddess, a desire which remains endlessly suspended, works as a supreme example of the aesthetic apparatus of cinema itself. This is an important book for inclusion in all film, film history, film theory, gender and sexuality studies, women's studies, and American studies collections.

Gender and Sexuality in Latin American Horror Cinema explores the different mechanisms and strategies through which horror films attempt to reinforce or contest gender relations and issues of sexual identity in the continent. The book explores issues of machismo, marianismo, homosociality, bromance, among others through the lens of horror narratives and, especially, it offers an analysis of monstrosity and the figure of the monster as an outlet to play out socio-sexual anxieties in different societies or gender groups. The author looks at a wide rage of films from countries such as Cuba, Peru, Mexico and Argentina and draws points of commonality, as well as comparing essential differences, between the way that horror fictions - considered by many as low-brow cinema - can be effective to delve into the way that sexuality and gender operates and circulates in the popular imaginary in these regions.

Softcover edition contains all-new hand-drawn cover artwork by HagCult! As featured in The New York Times, Rolling Stone, Entertainment Weekly, MovieMaker, SYFY, Fangoria, Yahoo's "It List", SFX, Mental Floss, Total Film, Mashable, 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 speaking with dozens of 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?"

Beginning in the 1930s, men and a handful of women came from India's many communities-Marathi, Parsi, Goan, North Indian, and many others--to Mumbai to work in an industry that constituted in the words of some, "the original fusion music." They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name "Bollywood," but the musicians themselves remain, in their own words, "behind the curtain"--the anonymous and unseen performers of one of the world's most celebrated popular music genres.
Now, Gregory D. Booth offers a compelling account of the Bollywood film music industry from the perspective of the musicians who both experienced and shaped its history. In a rare insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, Booth explains who these unknown musicians were and how they came to join the film music industry. On the basis of a fascinating set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creator and performers. Booth also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s-90s as well as the factors which ultimately led to their demise in contemporary India.
Featuring an extensive companion website with video interviews with the musicians themselves, Behind the Curtain is apowerful, ground-level view of this globally important music industry.

"Soundies" were the granddaddies of music videos: single-song musical movies that played in special jukeboxes during the 1940s. Some of the biggest musical stars (and stars of the future) appeared in these films: Louis Armstrong, Spike Jones, Liberace, Fats Waller, Stan Kenton, Cab Calloway, and many others. Thanks to Soundies, hundreds of unique musical performances were photographed for posterity. These mini-musicals were originally nothing more than a ten-cent novelty. Today, to film and music fans, they're a priceless part of history. Scott MacGillivray and Ted Okuda, authors of the landmark resource book "The Soundies Distributing Corporation of America," now offer this revised and expanded guide to the Soundies musicals. This all-new book picks up where the original left off: more than 1800 titles are classified by performer, title, and date-many with new, individual annotations and all with new cross-references for easy reading and consultation. There is also a historical account of the prolific Soundies production companies, a look at Soundies' many competitors and descendants (including telescriptions and Scopitones), a checklist of the dozens of Soundies home-movie editions, and a listing of alternate titles to help collectors identify the films more easily. All in one handy volume: "The Soundies Book."

This book offers essays on both canonical and non-canonical German-language texts and films, advancing ecocritical models for German Studies, and introducing environmental issues in German literature and film to a broader audience. This volume contextualizes the broad-ranging topics and authors in terms of the Anthropocene, beginning with Goethe and the Romantics and extending into twenty-first-century literature and film. Addressing the growing need for environmental awareness in an international humanities curriculum, this book complements ecocritical analyses emerging from North American and British studies with a specifically German Studies perspective, opening the door to a transnational understanding of how the environment plays an integral role in cultural, political, and economic issues.