Scholarly and popular interest in British cinema has never been stronger, with films ranging from the Merchant/Ivory pictures through Notting Hill finding both critical and commercial success in America. As such, The Guide to British Cinema represents an invaluable guide to the nation's cinematic output, including entries on major British actors, directors, and films from 1929 through the present day. The volume also highlights both major cycles such as the Gainsborough melodrama, the Ealing comedy, and the British new wave; as well as less well-defined cycles including the vein of dark melodramas that characterized the British cinema from 1945 to 1950. Such figures as Alfred Hitchcock, David Lean, and Dirk Bogarde are covered in detail, as well as Christopher Lee, Roy Ward Baker, Ray Winstone, and other long-serving but less well-known artists. The Guide pays close attention to films including The Third Man and Brief Encounter as well as genre pieces such as Brighton Rock. In all, the volume represents the first full-length examination of its subject, providing an irreplaceable resource for both film scholars and historians of British culture.

In Robot Suicide: Death, Identity, and AI in Science Fiction, Liz W Faber blends cultural studies, philosophy, sociology, and medical sciences to show how fictional robots hold up a mirror to our cultural perceptions about suicide and can help us rethink real-world policies regarding mental health. For decades, we’ve been asking whether we could make a robot live; but a new question is whether a living robot could make itself die. And if it could, how might we humans react? Suicide is a longstanding taboo in Western culture, particularly in relationship to mental health, marginalized identities, and individual choice. But science fiction offers us space to tackle the taboo by exploring whether and under what circumstances robots—as metaphorical stand-ins for humans—might choose to die. Faber looks at a broad range of science fiction, from classics like The Terminator franchise to recent hits like C. Robert Cargill’s novel Sea of Rust.

More than 100 years ago the brothers Adolf ("Adi") and Rudolf Dassler made their first pair of sports shoes. Hundreds of groundbreaking designs, epic moments, and star-studded collabs later, this book presents a visual review of the adidas shoe through almost 200 models.To further develop and tailor his products to athletes’ specific needs, Dassler asked them to return their worn footwear when no longer needed, with all the shoes eventually ending up in his attic (to this day, many athletes return their shoes to adidas, often as a thank you after winning a title or breaking a world record). This collection now makes up the "adidas archive", one of the largest, if not the largest archive of any sports goods manufacturer in the world—which photographers Christian Habermeier and Sebastian Jäger have been visually documenting in extreme detail for years.Shot using the highest reproduction techniques, these images reveal the fine details as much as the stains, the tears, the repair tape, the grass smudges, the faded autographs. It’s all here, unmanipulated and captured in extremely high resolution—and with it comes to light the personal stories of each individual wearer. We encounter the shoes worn by West Germany’s football team during its “miraculous� 1954 World Cup win and those worn by Kathrine Switzer when she ran the Boston Marathon in 1967, before women were officially allowed to compete; custom models for stars from Madonna to Lionel Messi; collabs with the likes of Pharrell Williams, Raf Simons, Stella McCartneyor Yohji Yamamoto; as well as the brand’s trailblazing techniques and materials.Accompanied by expert texts, each picture tells us the why and the how, but also conveys the driving force behind adidas. What we discover goes beyond mere design; in the end, these are just shoes, worn out by their users who have loved them—but they are also first-hand witnesses of our sports, design, and culture history, from the beginnings of the Dassler brothers and the founding of adidas until today.

Winner of the 2021 Ruth Lovell Murray Book Award Dance Education redefines the nature of dance pedagogy today, setting it within a holistic and encompassing framework, and argues for an approach to dance education from a soci-cultural and philosophical perspective. In the past, dance education has focused on the learning of dance, limited to Western-based societies, with little attention to how dance is learned and applied globally. This book seeks to re-frame the way dance education is defined, approached and taught by looking beyond the privileged Western dance forms to compare education from different cultures. Structured into three parts, this book examines the following essential questions: - What is dance? What defines dance as an art form? - How and where is dance performed and for what purpose? - How do social contexts shape the making and interpretation of dance? The first part covers the history of dance education and its definition. The second part discusses current contexts and applications, including global contexts and the ability to apply and comprehend dance education in a variety of contexts. This book opens up definitions, rather than categorising, so that dance is not presented in a hierarchical form. The third part continues to define dance education in ways that have not been discussed in the past: informal contexts. The book then returns to the original definition of dance education as a way of knowing oneself and the world around us, ending on the philosophical application of this self-knowledge as a way to be in the world and to engage with others, regardless of background. This textbook is a refreshing and much-needed contribution to the field of dance studies by one of the most eminent voices in the field.

World Cinema on Demand brings together diverse contributions by leading film and media scholars to examine world cinema’s dialogue with the transformations that took place during 2010-2014, engaging directly with ongoing debates surrounding national cinema, transnational identity, and cultural globalization, as well as ideas about genre, fandom and cinephilia. The contributions look at individual national patterns of online distribution, engaging with archives, SVODS and torrent communities. The essays also investigate the cross-cultural presence of world cinema in non-domestic online markets (such as Europe’s, for example). As a result, the volume sheds light on geo-politically specific issues of film circulation, consumption and preservation within a range of culturally diverse filmmaking contexts, including case studies from India, Nigeria, Mexico and China. In this way, the collection maps the impact of different online formats of distribution in the understanding of World Cinema, underlining the links between distribution and media provisions as well as engaging with new forms of intermediation.

For the first 70 years of television, broadcasters dictated the terms of the viewing experience, deciding not only when but how much of a program an audience could watch. Binge-watching destroyed that model by placing control of the experience in the hands of the viewer. In this book, media scholar Emil Steiner chronicles the technological and cultural struggle between broadcasters and viewers, which reached a climax in the early 2010s with the emergence of streaming video platforms. Through extensive interviews and archival research, this ground-breaking project traces the history of binge-watching from its idiot box roots to the new normal of Peak TV. Along the way, Steiner exposes the news campaigns waged by disruptive technology companies that exploited a long-simmering, revolutionary narrative of viewer empowerment to take over the broadcast industry. Binge-watching, an individual's act of gaining control and losing control through the remote control, exposed a debate that had been raging since the first TV set was turned on--one that asks, "Who controls the story?

This book interrogates the identity politics involved in framing Colombian diasporas, examining the ways that creative writers, directors, performers and artists negotiate collective and personal experiences that shape their identities through their art and cultural productions. New consideration of the diversity of Afro-Latin American and Indigenous communities within the overarching categorization of "Colombianness" or Colombianidad have led to increased focus on the representation of Colombia and Colombian diasporic communities. By focusing on different cultural productions—novels, memoirs, films, plays and visual arts—this book analyzes the performance of Colombianidad by communities throughout the diaspora. Topics include Afro-Colombian, US Latinx, Caribbean and queer identity, marginalization of racialized bodies within Colombia and the Colombian diaspora, and the politics of identity representation. Colombian Diasporic Identities: Representations in Literature, Film, Theater and Art examines how a consciously Colombian diasporic existence travels and is altered across geographic locales. Colombian Diasporic Identities will be key reading for scholars and students in US Latinx studies, and Latin American diasporic studies, together with ethnic studies, gender studies, queer studies and literature.

The complete, authorised scripts, including deleted scenes, of the multiple award-winning Succession. ** Winner of thirteen Emmys, five Golden Globes, three BAFTAs and a Grammy. ** With an exclusive introduction from creator Jesse Armstrong. 'The most thrilling and beautifully obscene TV there is.' Guardian 'Extraordinarily entertaining and incisive.' Empire 'One of the most relentlessly paced shows on television.' Rolling Stone Everything I've done in my life is for my children. When Logan Roy, the head of one of the world's largest media and entertainment conglomerates, decides to retire, each of his four grown children follows a personal agenda that doesn't always sync with those of their siblings -- or their father. Collected here for the first time, the complete scripts of Succession: Season One feature unseen extra material, including deleted scenes, alternative dialogue and character directions, and an exclusive introduction from creator and showrunner, Jesse Armstrong. They reveal a unique insight into the writing, creation and development of a TV sensation and a screen-writing masterpiece. 'Monstrous, near-Shakespearean perfection.' New Statesman

From the earliest accounts of contact with Europeans, Polynesians have been perceived as sensual and sexual beings. By the late 1800s, publications, lectures and stage plays about the Pacific became popular across Europe, and often contained exotic and erotic components. This book details the fusion of truth and fiction in the representation of Pacific Islanders, focusing on the sexualization of Polynesians in American cinema and other forms of mass communications and commercial entertainment. With messaging almost subliminal to American audiences, the Hollywood media machine produced hundreds of tropical film titles with images of revealing grass skirts, scanty sarongs, female toplessness and glistening exposed male pectorals. This critical filmography demonstrates how the concept of "sex sells," especially when applied on a large scale, shaped American social views on Polynesian people and their culture. Chapters document this phenomenon and an annotated filmography of sexualized tropes and several appendices conclude the book, including a glossary of Polynesian terms and a film index.

For centuries, humankind has sought to know itself through an understanding of the body, in sickness and in health, inside and out. This fascination left in its wake a rich body of artworks that demonstrate not only the facts of the human body, but also the ways in which our ideas about the body and its proper representation have changed over time. At times both beautiful and repulsive, illustrated anatomy continues to hold our interest today, and is frequently referenced in popular culture. Anatomica brings together some of the most striking, fascinating and bizarre artworks from the 16th through to the 20th century, exploring human anatomy in one beautiful volume.

This book, first published in 1983, brings together leading world experts on film and radio propaganda in a study which deals with each of the major powers as well as several under occupation. By examining each nations’ propaganda content and comparing its various strands of output designed for different audiences, the historian is provided with an important source of a nation’s official self-image. Total war forced governments to formulate goals consistent with the received national ideology in order to support the war effort. To this extent, much of the domestic propaganda was directed towards stimulating the population to make sacrifices with promise of a new world if the peace were won.

- Offers never-before-discussed analysis of specific scenes representing all documentary genres directly from the creators behind them. - Includes exclusive behind-the-scenes commentary from Rachel Lears, Dawn Porter, John Battsek, Bob Eisenhart and more. - Features interviews with professionals from all areas of the documentary process including cinematography, directing, editing, and more.

Updates the scholarship of the previous edition and includes seven brand new chapters. Has a companion website containing images, videos, further reading lists and discussion questions Teaches students to build theory from cultural objects Designed for undergraduate teaching by experienced teachers of Japanese popular culture

John Wayne--the man, actor, and icon--remains synonymous with certain American values. He represents conservative political views, aggressive militarism, and a masculine bravado which seemed anachronistic at the time of his death in 1979, but which the Reagan and Bush years have revived as meaningful to American society. In film history, Wayne has a place as one of the great stars, perhaps even one of the great actors. This book provides a full introduction to the study of John Wayne: his life, the components of his image, and the resources available for further inquiry. Of special importance is the book's extensive bibliography, notably its index to fan magazine articles about Wayne, which is unavailable elsewhere. Also included is the complete 1971 controversial Playboy magazine interview.

The life of Karl Dane was a Cinderella story gone horribly wrong. The immigrant from Copenhagen was rapidly transformed from a machinist to a Hollywood star after his turn as the tobacco-chewing Slim in ""The Big Parade"" in 1925. After that, Dane appeared in more than 40 films with such luminaries as Lillian Gish, John Gilbert and William Haines until development of talkies virtually ruined his career. The most famous casualty of the transition from silent to sound film, Dane reportedly lost his career because of his accent, finding himself broke at the height of the Depression. He reportedly operated a hot dog stand outside the studio where he earned his fame, then committed suicide in 1934. This biography tells the tale of a daring yet tragic man who aimed for his wildest dreams and succeeded, if only for a short time.

Situated within an emerging academic interest in documentary film in the Middle East and North Africa, this book studies the development of diverse documentary forms in relation to revolutionary and emancipatory movements that took place across the twentieth century in the so-called Arab World. Inspired by Deleuze and Guattari’s image of a “rhizome,� the author takes a de-territorialized approach to revolutionary filmmaking, embracing the diversity and fluidity of revolutionary works in the “Arab World.� As well as outlining the documentary film histories of the main film-producing nations of the region – Syria, Lebanon, Palestine, Egypt, Tunisia, Algeria and Morocco – the book analyzes the formal and esthetic features of individual works in relation to specific socio-political historical developments. Topics addressed include de-colonization, the wars of liberation, the Tricontinental movement, the Palestinian question, the Rif Uprising, the Leaden and Black Years, civil war in Lebanon, the recent Arab revolutions, state authoritarianism and totalitarianism, gender, collectivism and political subjectivity. Ultimately, the book contributes to a general theory of revolutionary documentary film forms by studying the works of consecutive periods from different ideological contexts. The book is much-needed reading for students and academics interested in film and media studies and the history, culture and politics of the Middle East and North Africa (MENA) region.

Situated within an emerging academic interest in documentary film in the Middle East and North Africa, this book studies the development of diverse documentary forms in relation to revolutionary and emancipatory movements that took place across the twentieth century in the so-called Arab World. Inspired by Deleuze and Guattari’s image of a “rhizome,� the author takes a de-territorialized approach to revolutionary filmmaking, embracing the diversity and fluidity of revolutionary works in the “Arab World.� As well as outlining the documentary film histories of the main film-producing nations of the region – Syria, Lebanon, Palestine, Egypt, Tunisia, Algeria and Morocco – the book analyzes the formal and esthetic features of individual works in relation to specific socio-political historical developments. Topics addressed include de-colonization, the wars of liberation, the Tricontinental movement, the Palestinian question, the Rif Uprising, the Leaden and Black Years, civil war in Lebanon, the recent Arab revolutions, state authoritarianism and totalitarianism, gender, collectivism and political subjectivity. Ultimately, the book contributes to a general theory of revolutionary documentary film forms by studying the works of consecutive periods from different ideological contexts. The book is much-needed reading for students and academics interested in film and media studies and the history, culture and politics of the Middle East and North Africa (MENA) region.

First televised in 2011, Death in Paradise remains one of the most popular shows in the U.K. The detective series is frequently ignored, panned or belittled by television critics, but viewers disagree. Bringing in more than eight million viewers a season, it is accessible in more than 235 global territories. This first book-length assessment of Death in Paradise offers a fresh take on the popular BBC drama. The book positions the show within broader contexts that illustrate its origins and timeless appeal, from the first conceptualizations of "paradise" in ancient cultures to the creation of the classic detective story in the 1920s. The Detective Inspectors on Death in Paradise come from a long line of fictional eccentrics who excel at finding quirky clues, seeing surprising connections and sometimes employing help from other officials and agencies. Through exploration of these narrative elements and more, the author reveals deeper themes of justice, inclusion and environmentalism.