How gallows humor can bolster us to confront global warming We’ve all seen the headlines: oceans rising, historic heat waves, mass extinctions, climate refugees. It feels overwhelming, like nothing can make a difference in combating this ongoing global catastrophe. How can we mobilize to save the world when we feel this depressed? Stay Cool enjoins us to laugh our way forward. Human beings have used comedy to cope with difficult realities since the beginning of recorded time—the more dismal the news, the darker the humor. Using this rich tradition of dark comedy to investigate climate change, Aaron Sachs makes the case that gallows humor, a mainstay of African Americans and Jews facing extraordinary oppression, can cultivate endurance, persistence, and solidarity in the face of calamity. Sachs surveys the macabre tradition of laughing during great suffering, from the Black Plague to the San Francisco earthquake of 1906—and offers some of the earliest examples of superlative dark comedy. He also explores how a new generation of activists and comedians are deploying dark humor to great effect, by poking fun at older people’s apathy about climate catastrophes, lambasting oil corporations’ “eco” rebranding, and even producing an off-Broadway dystopian comedy called “Sea Level Rise.” Sachs offers suggestions for how environmentalists can use dark comedy first to boost their own morale, and then to reframe their activism in more energizing and relatable ways. Environmentalism is probably the least funny social movement that’s ever existed. Stay Cool seeks to change that. Will comedy save the world? Not by itself, no. But it can put people in a decent enough mood to get them started on a rescue mission.

"Compressed Utterances brings focused attention to collage in a Germanic context, whose contours and impact are still so little appreciated. As this stunning volume shows, collage serves as a key medium not only for understanding art historical developments but social and political transformations as well, often embodying the dynamic forces of avant-garde criticality." (Thomas O. Haakenson, Associate Professor, History of Art and Visual Culture, California College of the Arts) "A deep dive into the paradigmatic medium of the twentieth century, Compressed Utterances is the foundational text of the growing field of collage studies. The book's established and emerging authors investigate an astonishing range of previously unknown collage work to explore German artists' and writers' deployment of this medium as appropriative, intertextual, alienating, and temporally slippery." (Elizabeth Otto, Professor of Modern and Contemporary Art, The University at Buffalo, State University of New York) Composite pictures create narratives and images from many fragments. They turn often disparate and juxtaposing images and text into a singular image or message. Collage makes from the broken and, arguably, no other country has reflected the fractious nature of its history more than Germany. The collage form is one of the best expressive forms to be taken up and experimented with by German artists since 1912. Compressed Utterances: Collage in a Germanic Context after 1912 brings together essays by scholars, students and curators to examine the use of collage by German-speaking artists, making in their homeland and abroad, whose works are closely connected to the tumultuous histories of Germany and neighbouring German-speaking nations since 1912 to the late 2000s.

This book offers an examination of the films of Roman Polanski, focusing on the impact that his life as an exile has had upon his work. Roman Polanski: A Life in Exile is a revealing look at this acclaimed filmmaker whose life in exile seems to have made his films all the more personal and powerful. Written by a film critic, this insightful book follows Polanski's story from his childhood in a World War II Jewish ghetto to his early films in Poland; from his American breakout, Rosemary's Baby, to his wife's murder by the Manson family; from the spectacular return of Chinatown, to his exile as a convicted sex criminal, to the monumental career peak, The Pianist. The Holocaust, the oppression of communism, the shattering of the swinging 60s, the decadence of Hollywood, the life of a fugitive—Polanski experienced all of these firsthand, and understanding those experiences provides a fascinating pathway through his work.

In Poetics of Deconstruction, Lynn Turner develops an intimate attention to independent films, art and the psychoanalyses by which they might make sense other than under continued license of the subject that calls himself man. Drawing extensively from Jacques Derrida's philosophy in precise dialogue with feminist thought, animal studies and posthumanism, this book explores the vulnerability of the living as rooted in non-oppositional differences. From abjection to mourning, to the speculative and the performative, it reposes concepts and buzzwords seemingly at home in feminist theory, visual culture and the humanities more broadly. Stepping away from the carno-phallogocentric legacies of the signifier and the dialectic, Poetics of Deconstruction asks you to welcome nonpower into politics, always sexual but no longer anchored in sacrifice.

Filmmakers and cinema industries across the globe invest more time, money and creative energy in projects and ideas that never get produced than in the movies that actually make it to the screens. Thousands of projects are abandoned in pre-production, halted, cut short, or even made and never distributed – a “shadow cinema” that exists only in the archives. This collection of essays by leading scholars and researchers opens those archives to draw on a wealth of previously unexamined scripts, correspondence and production material, reconstructing many of the hidden histories of the last hundred years of world cinema. Highlighting the fact that the movies we see are actually the exception to the rule, this study uncovers the myriad reasons why ‘failures’ occur and considers how understanding those failures can transform the disciplines of film and media history. The first survey of this new area of empirical study across transnational borders, Shadow Cinema is a vital and fascinating demonstration of the importance of the unmade, unseen, and unknown history of cinema.

Let out your inner party animal and rave on with this fun-loving, 3-inch, miniature desktop collectible!
Includes Multiple Special Effects: 3" cat figurine on a light-up base that plays music and dances at the push of a button
Illustrated Miniature Book: Includes a miniature book with tips and tricks for how to party like your favorite feline
Unique Gift: Inspired by the many internet dancing cat memes, this is the perfect gift for cat lovers
Requires two AAA batteries (not included).

Starting in the early 1990s, artists such as Quentin Tarantino, David Foster Wallace, and Kurt Cobain contributed to a swelling cultural tide of pop postmodernism that swept through music, film, literature, and fashion. In cinema in particular, some of the art's most fundamental aspects--stories, characters, and genres, for instance--assumed such a trite and trivialized appearance that only rarely could they take their places on the screen without provoking an inward smirk or a wink from the audience. In horror films, characters knew what was coming next from having already studied the horror genre themselves; in Westerns, new plots developed out of an assortment of old ones; and in action features, few heroes came without a strong hint of the anti-hero as well. Out of this highly self-conscious and world-weary environment, however, a new group of filmmakers began to develop as the decade wore on, with a new set of styles and sensibilities to match. In Post-Pop Cinema author Jesse Fox Mayshark takes us on a film-by-film tour of the works of Wes and P. T. Anderson, Sofia Coppola, Richard Linklater, Alexander Payne, and David O. Russell, and reveals how a common pool of styles, collaborators, and personal connections helps them to confront the unifying problem of meaning in American film. Wes Anderson's Bottle Rocket (1996) and Paul Thomas Anderson's Boogie Nights (1997) were ultimately about their characters' lives-even though their characters often dealt with highly contrived environments and situations. And soon after Wes Anderson scored his first success, others like David O. Russell (Flirting With Disaster, Three Kings), the screenwriter Charlie Kaufman (who collaborated with SpikeJonze on such projects as Being John Malkovich and Adaptation), Alexander Payne (Election, Sideways), Richard Kelly (Donnie Darko), and Sofia Coppola (Lost in Translation) began to tread their own paths over this same ground. Although these men and women represent a wide range of styles and subject matter, all their films revolve in different ways around the difficulty of establishing and maintaining connections. This theme of connection also runs deeper than the films made: the directors share actors (Mark Wahlberg, Bill Murray, Ben Stiller, Jason Schwartzman), collaborators (the musician Jon Brion) and sometimes even personal connections (Spike Jonze starred in Russell's Three Kings, and was married to Coppola). Together these filmmakers form a loose and distinctly American school of filmmaking, one informed by postmodernism but not in thrall to it, and one that every year becomes more important to the world of cinema both within and beyond the United States. Author Jesse Fox Mayshark has been reviewing these filmmakers from their debut features to the present day This book represents not only the first prolonged study devoted to several of these very important filmmakers, but also the first effort to chronicle the efforts of this group as a whole

Wes Britton's Spy Television (2004) was an overview of espionage on the small screen from 1951 to 2002. His Beyond Bond: Spies in Fiction and Film (2004) wove spy literature, movies, radio, comics, and other popular media together with what the public knew about actual espionage to show the interrelationships between genres and approaches in the past century. Onscreen and Undercover, the last book in Britton's "Spy Trilogy," provides a history of spies on the large screen, with an emphasis on the stories these films present. Since the days of the silent documentary short, spying has been a staple of the movie business. It has been the subject of thrillers, melodramas, political films, romances, and endless parodies as well. But despite the developing mistrust of the spy as a figure of hope and good works, the variable relationship between real spying and screen spying over the past 100 years sheds light on how we live, what we fear, who we admire, and what we want our culture--and our world--to become. Onscreen and Undercover describes now forgotten trends, traces surprising themes, and spotlights the major contributions of directors, actors, and other American and English artists. The focus is on movies, on and off camera. In a 1989 National Public Radio interview, famed author John Le Carre said a spy must be entertaining. Spies have to interest potential sources, and be able to draw people in to succeed in recruiting informants. In that spirit, Wes Britton now offers Onscreen and Undercover.