Stanley Kubrick is one of the most revered directors in cinema history. His 13 films, including classics such as Paths of Glory, 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, and The Shining, attracted controversy, acclaim, a devoted cult following, and enormous critical interest. With this comprehensive guide to the key contexts - industrial and cultural, as well as aesthetic and critical - the themes of Kubrick's films sum up the current vibrant state of Kubrick studies. Bringing together an international team of leading scholars and emergent voices, this Companion provides comprehensive coverage of Stanley Kubrick’s contribution to cinema. After a substantial introduction outlining Kubrick's life and career and the film's production and reception contexts, the volume consists of 39 contributions on key themes that both summarise previous work and offer new, often archive-based, state-of-the-art research. In addition, it is specifically tailored to the needs of students wanting an authoritative, accessible overview of academic work on Kubrick.

In 1957, A Face in the Crowd incorporated live video images to warn about the future of broadcast TV. In 2015, Kung Fury was infused with analogue noise to evoke the nostalgic feeling of watching an old VHS tape. Between the two films, numerous ones would incorporate video images to imagine the implications of video practices. Drawing on media archaeology, Videographic Cinema shows how such images and imaginaries have emerged, changed and remained over time according to their shifting technical, historical and institutional conditions. Rediscovering forgotten films like Anti-Clock (1979) and reassessing ones like Lost Highway (1997), Jonathan Rozenkrantz charts neglected chapters of video history, including self-confrontation techniques in psychiatry, their complex relation with surveillance, and the invention/discovery of the “videographic psyche” by artists, therapists and filmmakers. Spanning six decades, Videographic Cinema discovers an epistemic shift from prospective imaginaries of surveillance and control conditioned on video as a medium for live transmission, to retrospective ones concerned with videotape as a recording memory. It ends by considering videographic filmmaking itself as a form of archaeology in the age of analogue obsolescence.

From the Academy Award®-winning actor, an unconventional memoir filled with raucous stories, outlaw wisdom, and lessons learned the hard way about living with greater satisfaction. I've been in this life for fifty years, been trying to work out its riddle for forty-two, and been keeping diaries of clues to that riddle for the last thirty-five. Notes about successes and failures, joys and sorrows, things that made me marvel, and things that made me laugh out loud. How to be fair. How to have less stress. How to have fun. How to hurt people less. How to get hurt less. How to be a good man. How to have meaning in life. How to be more me. Recently, I worked up the courage to sit down with those diaries. I found stories I experienced, lessons I learned and forgot, poems, prayers, prescriptions, beliefs about what matters, some great photographs, and a whole bunch of bumper stickers. I found a reliable theme, an approach to living that gave me more satisfaction, at the time, and still: If you know how, and when, to deal with life's challenges - how to get relative with the inevitable - you can enjoy a state of success I call 'catching greenlights.' So I took a one-way ticket to the desert and wrote this book: an album, a record, a story of my life so far. This is fifty years of my sights and seens, felts and figured-outs, cools and shamefuls. Graces, truths, and beauties of brutality. Getting away withs, getting caughts, and getting wets while trying to dance between the raindrops. Hopefully, it's medicine that tastes good, a couple of aspirin instead of the infirmary, a spaceship to Mars without needing your pilot's license, going to church without having to be born again, and laughing through the tears. It's a love letter. To life. It's also a guide to catching more greenlights-and to realising that the yellows and reds eventually turn green too. Good luck.

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.

Stephen Shore is one of the most important photographers of the twentieth century. A pioneer of colour photography, his photographs of everyday American scenes paved the way for future art photographers like Martin Parr, Nan Goldin and Thomas Struth. This special, highly collectible, limited edition book - numbered and signed by the photographer - is a complete reproduction of the journal that Shore made on a month-long American road trip in 1973, during which he began work on his influential project Uncommon Places. In the journal Shore included his own photographs, lists detailing information on his travels like where he stayed, what he ate, how many miles he drove, and various ephemera like receipts and postcards. Each page of the journal is reproduced along with a plate section featuring every photograph he took on his journey to provide the complete story of the journey at this seminal moment in his career. The book also includes a set of postcards, reproductions of cards that Shore himself made and distributed on his journey, to ensure this is an essential title for any collector, photography enthusiast, or student.

The collected essays in this volume focus on the presentation, representation and interpretation of ancient violence – from war to slavery, rape and murder – in the modern visual and performing arts, with special attention to videogames and dance as well as the more usual media of film, literature and theatre. Violence, fury and the dread that they provoke are factors that appear frequently in the ancient sources. The dark side of antiquity, so distant from the ideal of purity and harmony that the classical heritage until recently usually called forth, has repeatedly struck the imagination of artists, writers and scholars across ages and cultures. A global assembly of contributors, from Europe to Brazil and from the US to New Zealand, consider historical and mythical violence in Stanley Kubrick’s Spartacus and the 2010 TV series of the same name, in Ridley Scott’s Gladiator, in the work of Lars von Trier, and in Soviet ballet and the choreography of Martha Graham and Anita Berber. Representations of Roman warfare appear in videogames such as Ryse: Son of Rome and Total War, as well as recent comics, and examples from both these media are analysed in the volume. Finally, interviews with two artists offer insight into the ways in which practitioners understand and engage with the complex reception of these themes.

A collection of beautiful photo essays from over forty years of the remarkable career of Danny Lyon, one of the most original and influential documentary photographers in American photography Lyon pioneered the style of photographic 'New Journalism' as he rebelled against Life magazine style photographs, instead immersing himself in the lives of his subjects - such as a Chicago motorcycle club or a group of Texas prison inmates - and paved the way for this style of work in a future generation of photographers such as Nan Goldin. A radical and maverick figure, much of his photography was considered too controversial for publication at the time of its creation and is now collected together in this wide body of work which ranges from sensual, richly coloured images of girls in a barrio of Colombian brothels and stunning black and white portraits of young local boys in 1965 Chicago, to some of his best-known projects such as the iconic The Bikeriders story and recent work made in Cuba. Each story is published as a complete piece for the first time, and also includes Lyon's own texts, which tell the story behind each photo essay and his subjects in his own distinctive voice, to celebrate this rebellious photographer's unique vision.

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.