Explore the Dark Arts of the Harry Potter films, with more than a dozen collectible stickers, cards, patches, prints, and more! Open the sturdy portfolio to discover the secrets behind Voldemort, Death Eaters, Horcruxes, and more in this exclusive collection of over a dozen authentic prop facsimiles, artifacts, stickers, and stationery inspired by the Dark Arts. Filled with facts and photos, fans will learn about the dark side of the Wizarding World, relive moments from the films, and delve into the behind-the-scenes magic that brought Harry Potter to life on the big screen. AUTHENTIC COLLECTIBLES: More than a dozen exclusive, official Harry Potter collectibles inspired by the Dark Arts including a 16-page journal, stickers, and more! BEHIND-THE-SCENES MOVIE FACTS: Dark Arts-related facts, trivia, and stories from the set of the Harry Potter films. STUNNING ART AND IMAGES: Photos from the films and gorgeous illustrations bring the world of the Dark Arts to life! PERFECT GIFT: An ideal and unusual gift for the Harry Potter fan. COLLECT THEM ALL: Harry Potter: Dark Arts joins the of Artifacts of the Wizarding World series that includes Harry Potter: Wand Magic, Harry Potter: Travel Magic, Harry Potter: Gryffindor Magic, Harry Potter: Slytherin Magic, Harry Potter: Hufflepuff Magic and Harry Potter: Ravenclaw Magic

Filmic constructions of war heroism have a profound impact on public perceptions of conflicts. Here, contributors examine the ways motifs of gender and heroism in war films are used to justify ideological positions, shape the understanding of the military conflicts, support political agendas and institutions, and influence collective memory.

How do we experience disaster films in cinema? And where does disaster cinema come from? The two questions are more closely related than one might initially think. For the framework of the cinematic experience of natural disasters has its roots in the mid-eighteenth century when the aesthetic category of the sublime was re-established as the primary mode for appreciating nature's violent forces. In this book, the sublime is understood as a complex and culturally specific meeting point between philosophical thought, artistic creation, social and technical development, and popular imagination. On the one hand, the sublime provides a receptive model to uncover how cinematic disaster depictions affect our senses, bodies and minds. On the other hand, this experiential framework of disaster cinema is only one of the most recent agents within the historical trajectory of sublime disasters, which is traced in this book among a broad range of media: from landscape and history painting to a variety of pictorial devices like Eidophusikon, Panorama, Diorama, and, finally, cinema.

Written for all media-make up students this new edition of The Complete Make-up Artist will help you develop the skills needed to become a qualified, professional make-up artist. Endorsed by both Habia and VTCT, it covers all aspects of media make-up, from working in fashion and beauty to period and character make-up, and is fully updated with the latest national occupational standards.

The richness and color of African cinema have been neglected for too long and its many talented film-makers deserve full recognition. This new and unique book gives detailed information on over 300 major African and Arab film-makers from the main film-producing countries: Algeria, Burkina Faso, Egypt, Ethiopia, Ghana, Guinea-Bissau, Ivory Coast, Madagascar, Mali, Senegal, Somalia, Tanzania, Tunisia, and Zaire. It also includes important film directors from Southern African states--Angola, Mozambique, Zimbabwe and others--as well as from other African republics.

Each entry gives details of the film-maker's career and a complete list of films made. Two extensive indexes arrange film-makers by country and list some 5,000 film titles, in both the original language and English. An important addition is the chronology of African cinema, giving a bold summary of its growth over the last thirty years.

Between the two world wars, a distinct and vibrant film culture emerged in Europe. Film festivals and schools were established; film theory and history was written that took cinema seriously as an art form; and critical writing that created the film canon flourished. This scene was decidedly transnational and creative, overcoming traditional boundaries between theory and practice, and between national and linguistic borders. This new European film culture established film as a valid form of social expression, as an art form, and as a political force to be reckoned with. By examining the extraordinarily rich and creative uses of cinema in the interwar period, we can examine the roots of film culture as we know it today.

Cinema-going was the most popular commercial leisure activity in the first half of the twentieth century. UK cinema attendance grew significantly in the Second World War and peaked in 1946 with 1.6 billion recorded admissions. Though `going to the pictures' remained a popular pastime for the remainder of the forties, the transition from war to peacetime altered citizens' leisure habits. During the fifties, a range of factors including increased affluence, the growth of television ownership, population shifts and the diversification of leisure activities led to rapid declines in attendance. By 1965, admissions had plummeted to 327 million and the cinema held a far more marginal existence in the nation's leisure habits. Cinema attendances fell in all regions, but the speed, nature and extent of this decline varied widely across the United Kingdom. By linking broad national developments to detailed case studies of two similarly-sized industrial cities, Belfast and Sheffield, this book adds nuance and detail to our understanding of regional variations in film exhibition, audience habits and cinema-going experiences during a period of profound social and cultural change. The use of a wide range of quantitative and qualitative sources, such as oral testimony, box-office data, newspapers and trade journals, conveys the diverse nature of the cinema industry and the importance of place as a determinant of cinema attendance. Sam Manning is a postdoctoral researcher on the AHRC European Cinema Audiences project. He has recently published articles in Cultural and Social History and Media History.

Teresa de Lauretis makes a bold and orginal argument for the renewed relevance of the Freudian theory of drives, through close readings of texts ranging from cinema and literature to psychoanalysis and cultural theory.

The only thing Hollywood likes more than a good movie is a good deal. For more than fifty years producers and directors of war and action movies have been getting a great deal from America's armed forces by receiving access to billions of dollars worth of military equipment and personnel for little or no cost. Although this arrangement considerably lowers a film's budget, the cost in terms of intellectual freedom can be quite steep. In exchange for access to sophisticated military hardware and expertise, filmmakers must agree to censorship from the Pentagon.
As veteran Hollywood journalist David L. Robb shows in this revealing insider's look into Hollywood's "dirtiest little secret," the final product that moviegoers see at the theater is often not just what the director intends but also what the powers-that-be in the military want to project about America's armed forces. Sometimes the censor demands removal of just a few words; other times whole scenes must be scrapped or completely revised. What happens if a director refuses the requested changes? Robb quotes a Pentagon spokesman: "Well I'm taking my toys and I'm going home. I'm taking my tanks and my troops and my location, and I'm going home." That can be quite a persuasive threat to a filmmaker trying to keep his movie within budget.
Robb takes us behind the scenes during the making of many well-known movies. From The Right Stuff to Top Gun and even Lassie, the list of movies in which the Pentagon got its way is very long. Only when a director is determined to spend more money than necessary to make his own movie without interference, as in the case of Oliver Stone in the creation of Platoon or Francis Ford Coppola in Apocalypse Now, is a film released that presents the director's unalloyed vision.
For anyone who loves movies and cares about freedom of expression, Operation Hollywood is an engrossing, shocking, and very entertaining book.

"Commerce in Culture" is an innovative study of how states have responded to the globalization of the film sector. Concerned with more than film content or substance, the book exposes the ongoing political and economic struggles that shape cultural production and trade in the world. The historical focus is on Hollywood's engagement with rivals and partners in two leading developing countries, Egypt and Mexico, beginning with the birth of their national film industries in the late 1920s. State and market institutions evolved differently in each context, acting like national prisms to mediate international competition and produce distinctive results. As filmmaking has become a dynamic focal point in the new economy, "Commerce in Culture" reveals a vital but neglected part of the global terrain.

The essays collected in "Cinema and Technology" map out a new interdisciplinary terrain, combining contemporary analyses of material and visual culture, deploying the methods of film studies, media and cultural studies, media anthropology, and science and technology studies. Rather than describing a technological "crisis," or separating the technological and aesthetic halves of the cinema, they present a manifold, expansive reconsideration of the life of technologies in the cultures, theories and practices of cinematic production and consumption.

Compact Cinematics challenges the dominant understanding of cinema to focus on the various compact, short, miniature, pocket-sized forms of cinematics that have existed from even before its standardization in theatrical form, and in recent years have multiplied and proliferated, taking up an increasingly important part of our everyday multimedia environment. Short films or micro-narratives, cinematic pieces or units re-assembled into image archives and looping themes, challenge the concepts that have traditionally been used to understand cinematic experience, like linear causality, sequentiality, and closure, and call attention to complex and modular forms of cinematic expression and perception. Such forms, in turn, seem to meet the requirements of digital convergence, which has pushed the development of more compact and mobile hardware for the display and use of audiovisual content on laptops, smartphones, and tablets. Meanwhile, contemporary economies of digital content acquisition, filing, and sharing equally require the shrinking of cinematic content for it to be recorded, played, projected, distributed, and installed with ease and speed. In this process, cinematic experience is shortened and condensed as well, so as to fit the late-capitalist attention economy. The essays in this volume ask what this changed technical, socio-economic and political situation entails for the aesthetics and experience of contemporary cinematics, and call attention to different concepts, theories and tools at our disposal to analyze these changes.

Martini Man goes beyond the simple caricature of the boozy lounge singer with a penchant for racy humor to reveal the substantive man behind that mask. Although Martin's movie roles receive in-depth attention in this incisive biography, as does his career-defining partnership with Jerry Lewis, details of Dino's personal life also abound, such as how Shierly MacLaine dropped by his house "to tell Dean she was in love with him-even though his wife was in the other room." William Schoell's chronicle is a sympathetic portrait that recreates the life and times of one of America's favorite entertainers.

Starring Tom Cruise examines how Tom Cruise's star image moves across genres and forms as a type of commercial product that offers viewers certain pleasures and expectations. Cruise reads as an action hero and romantic lead yet finds himself in homoerotic and homosocial relationships that unsettle and undermine these heterosexual scripts. In this volume, editor Sean Redmond shows how important star studies is not just to understanding the ideological, commercial, and cultural significance of one star but to seeing how masculinity, ethnicity, sexuality, and commodity relations function in contemporary society. The volume is divided into three parts. Part 1 explores the ways that Cruise's star image and performances are built on a desiring gaze, nearly always complicated by perverse narrative arcs and liminal character relationships. This section also explores the complex and contradictory ways he embodies masculinity and heterosexuality. Part 2 places Cruise within the codes and conventions of genre filmmaking and the way they intersect with the star vehicle. Cruise becomes monomythical, heroic, authentic, and romantic, and at the same time, he struggles to hold these formulas and ideologies together. Part 3 views Cruise as both an ageless totemic figure of masculinity who does his own stunts, as well as an aging star-his body both the conduit for eternally youthful masculinity and a signifier of that which must ultimately fail. These readings are connected to wider discursive issues concerning his private and public life, including the familial/patriarchal roles he takes on.Scholars writing for this collection approach the Cruise star image through various vectors and frames, which are revelatory in nature. As such, they not only demonstrate the very best traditions of close ""star"" textual analysis but also move the approach to the star forward. Students, scholars, and readers of film, media, and celebrity studies will enjoy this deep dive into a complex Hollywood figure.

Winner of the Southwest Popular and American Culture Association's 2016 Peter C. Rollins Book Award in the category of Film/Television The popular music industry has become completely interlinked with the film industry. The majority of mainstream films come with ready-attached songs that may or may not appear in the film but nevertheless will be used for publicity purposes and appear on a soundtrack album. In many cases, popular music in films has made for some of the most striking moments in films and the most dramatic aesthetic action in cinema, like Ben relaxing in the pool to Simon and Garfunkel's 'The Sound of Silence' in The Graduate (1967), and the potter's wheel sequence with the Righteous Brothers' 'Unchained Melody' in Ghost (1990). Yet, to date, there have only been patchy attempts to deal with popular music's relationship with film. Indeed, it is startling that there is so little written on subject that is so popular as a consumer item and thus has a significant cultural profile. Magical Musical Tour is the first sustained and focused survey to engage the intersection of the two on both an aesthetic and industrial level. The chapters are historically-inspired reviews, discussing many films and musicians, while others will be more concentrated and detailed case studies of single films. Including an accompanying website and a timeline giving a useful snapshot around which readers can orient the book, Kevin Donnelly explores the history of the intimate bond between film and music, from the upheaval that rock'n'roll caused in the mid-1950s to the more technical aspects regarding 'tracking' and 'scoring'.

A socio-cultural analysis of the relationship between modernism and science fiction, from the 1870s to the 1970s, with examples drawn from literature and other media in Britain, Europe and the Americas. The book challenges how high and low culture has been mapped in the twentieth century.