In Transnational Korean Cinema author Dal Yong Jin explores the interactions of local and global politics, economics, and culture to contextualize the development of Korean cinema and its current place in an era of neoliberal globalization and convergent digital technologies. The book emphasizes the economic and industrial aspects of the story, looking at questions on the interaction of politics and economics, including censorship and public funding, and provides a better view of the big picture by laying bare the relationship between film industries, the global market, and government. Jin also sheds light on the operations and globalization strategies of Korean film industries alongside changing cultural policies in tandem with Hollywood’s continuing influences in order to comprehend the power relations within cultural politics, nationally and globally. This is the first book to offer a full overview of the nascent development of Korean cinema.

A studious view of Richard Serra’s recently premiered forged steel sculpture and new drawings using his trademark paintstick technique. ---------- “Enigmatic, arresting, audacious: Richard Serra now and forever� — The Brooklyn Rail ---------- Richard Serra’s hugely successful body of work consistently explores the possibilities of form and matter. Serra’s steel sculptures are held in major collections internationally, and his drawings assert themselves as abstract victories. Through the use of black paintstick—a combination of oil paint, wax, and pigment, which he has used since 1971—Serra’s drawings convey a strong sense of optical weight, acutely similar to the physical presence of his sculptures. 2022, the artist’s largest single forged round to date, investigates properties of weight and scale. While the exhibition allowed viewers to encounter Serra’s immense forged round and inky drawings in relation to their own space and bodies, the catalogue is an opportunity for intimate engagement with Serra’s works through stunning reproductions.

Initially created to counteract broadcasts from Nazi Germany, the BBC’s Eastern Service became a cauldron of global modernism and an unlikely nexus of artistic exchange. Directed at an educated Indian audience, its programming provided remarkable moments: Listeners in India heard James Joyce reading from Finnegans Wake on the eve of independence, as well as the literary criticism of E. M. Forster and the works of Indian writers living in London. In Radio Empire, Daniel Ryan Morse demonstrates the significance of the Eastern Service for global Anglophone literature and literary broadcasting. He traces how modernist writers used radio to experiment with form and introduce postcolonial literature to global audiences. While innovative authors consciously sought to incorporate radio’s formal features into the novel, literature also exerted a reciprocal and profound influence on twentieth-century broadcasting. Reading Joyce and Forster alongside Attia Hosain, Mulk Raj Anand, and Venu Chitale, Morse demonstrates how the need to appeal to listeners at the edges of the empire pushed the boundaries of literary work in London, inspired high-cultural broadcasting in England, and formed an invisible but influential global network. Adding a transnational perspective to scholarship on radio modernism, Radio Empire demonstrates how the history of broadcasting outside of Western Europe offers a new understanding of the relationship between colonial center and periphery.

Can you dissolve a coin, defy gravity or read someone's mind? Learn how to perform the greatest magic tricks around and astound your friends and family. This comprehensive book features over 350 magic tricks, including card magic, stage and optical illusions, stunts, puzzles, party and dinner table pranks. Each trick is fully illustrated and expertly described, enabling both the novice and experienced magician alike to perform feats such as bending a knife, predicting the future and cutting a person in two. Close-up secret views show how each trick is performed, with expert tips on preparation and the patter needed to allow the reader to achieve a polished performance.

As a boy, Tom's first crush was a strapping young farmhand who worked the fields around his family home. Finland is a land of tough physical men, catching fish in the icy sea; cutting logs in the endless forests; threshing oats, rye, and barley on the farms. Tom, a more sensitive boy, admired these rough men and their distinctive clothing, designed for protection and utility. He later said, "When I was young, leather was worn by people who worked outside because it was warm. All the men who wore leather, they were the type of men which I adored." When he began to draw he celebrated these early idols, improving their wardrobes with tight jeans, faded T-shirts, and thigh-high beak-toed Lappish boots. It was a young logger in this gear who appeared on the spring 1957 cover of Physique Pictorial, introducing Tom to the world. In the decades to follow Tom added truckers, repairmen, construction workers, circus roustabouts, and the American cowboy to his roster of working-class heroes. Though just sexual fantasies for him, his portrayal of blue-collar lovers helped working class gays accept their true selves. The Little Book of Tom: Blue Collar traces Tom's fascination with working men in one compact and affordable package. A brawny lineup of multi-panel comics and single-panel drawings and paintings is set alongside archival and contextual material, including historic film stills and posters, personal photos of Tom, sketches, and Tom's own reference photos.

"In the 1990s when I was watching reruns of The Fugitive on the Arts and Entertainment Network twice a day, I couldn't take my eyes off it. . . . No one in The Fugitive ever relaxes as you watch and you can't relax either, even though for long stretches absolutely nothing happens. It was the combination of nonstop tension with the (relative) absence of slam-bang action that attracted me, and as I now reflect on it, the same combination characterizes the literary works I have been reading and writing about for more than forty-five years."—Stanley Fish, from the Introduction In the stark television drama The Fugitive, Dr. Richard Kimble, an innocent man convicted of murder, is on the run from the police and in pursuit of the real killer. The award-winning show, which aired on ABC from 1963 to 1967 and inspired a 1993 blockbuster movie, still has many devoted fans, none more passionate than literary and legal theorist and intellectual provocateur Stanley Fish. In The Fugitive in Flight, Fish examines the moral structure of the long-running series and explains why he thinks this may well be the greatest show ever aired on American network television. Analyzing key episodes, The Fugitive in Flight goes beyond plot summaries and behind-the-scenes stories. For Fish, the real action of The Fugitive takes place in confined spaces where the men and women Richard Kimble encounters are forced to choose what kind of person they will be for the rest of their lives. Kimble is the catalyst of such choices and changes, but he himself never changes. Breaking free from the political and social problems of his time, he is always the bearer and exemplar of the very middle-class values informing the system that has misjudged him. Kimble is the perfect representative of a mid-twentieth-century liberalism that values above all independence, personal integrity, and the refusal to surrender oneself to obsessions or causes. He is so consistently faithful to his liberal vision of life that he displays both its virtues and its dark side, the side that flees attachments, entanglements, responsibilities, and human connections. Stanley Fish's Richard Kimble is the ultimate man in a gray flannel suit, even when he is wearing a windbreaker and walking down a dark, lonely road.

Have you ever wondered if that game you love was made into a movie? Flip this book open and find out! Explore the fascinating journey of your favourite video games as they make their way to the silver screen! This comprehensive guide contains information on over forty big-screen adaptations of popular video games, including the histories of the series that inspired them. Covering four decades of movies, readers can learn about some of the most infamous movies in video game history, with genres such as horror, martial arts, comedy and children's animation ensuring there's plenty of trivia and analysis to keep gamers hooked. With nearly two-hundred full colour stills, posters and screenshots, the book is a go-to guide to discovering facts about some of the biggest box office hits and the most disappointing critical bombs in history. From bizarre science fiction like Super Mario Bros. to the latest big budget releases like Monster Hunter, and dozens in between, A Guide to Video Game Movies should please film buffs and die-hard game fans alike. Whether you're looking for rousing blockbuster action, family-friendly entertainment or a late-night B-movie to laugh at with your friends, you're bound to find a movie to fit your taste. Put down your controller and grab your popcorn!

Over the past two decades, national and supranational institutions and the mass media have played a central role in presenting the migrant struggle in a sensational way, spreading an unjustified moral panic and relegating migrants themselves to spaces of invisibility. Building on recent theoretical debates in migration studies around the so-called "autonomy of migration" - which sees people on the move as individuals with self-determination and agency - this book reframes migration in the Mediterranean, and specifically around the island of Lampedusa. In particular, the book explores how activist and art forms have become a platform for subverting the dominant narrative of migration and generating a vital form of political dissent, by revealing the contradictions and paradoxes of the securitarian regime that regulates immigration into Europe. The analysis focuses on works by, among others, Broomberg & Chanarin, Centre for Political Beauty, Forensic Architecture, Nikolaj Bendix Skyum Larsen, Isaac Julien, Tamara Kametani, Bouchra Khalili, Kalliopi Lemos, Zakaria Mohamed Ali, Maya Ramsay, Giacomo Sferlazzo, Aida Silvestri, Ai Weiwei, Lucy Woodand Dagmawi Yimer.

The story of downtown Chicago--its early development, later struggles, and current restoration--is mirrored in the history of the theatres that occupied its streets. This vivid chronicle tells the tale of the Windy City's theatres, from mid-nineteenth century vaudeville houses to the urban decline and renewal of the twentieth and twenty-first centuries. Discussed are the rebuilding efforts after the Great Chicago Fire of 1871, the first nickel theaters showing ""moving pictures,"" the ornate silent movie palaces, the move to ""talkies,"" the challenges of the Great Depression and the introduction of television, and urban decline. Today, Chicago has preserved some of its most historic movie palaces, landmarks of cultural vibrancy in its reawakened downtown. With nearly 200 photographs from the Theatre Historical Society of America, this work brings to life all of the theatres that have enlivened Chicago's entertainment district, reflecting the transformation of downtown Chicago itself.

Ruth Ben-Ghiat provides the first in-depth study of feature and documentary films produced under the auspices of Mussolini s government that took as their subjects or settings Italy s African and Balkan colonies. These "empire films" were Italy's entry into an international market for the exotic. The films engaged its most experienced and cosmopolitan directors (Augusto Genina, Mario Camerini) as well as new filmmakers (Roberto Rossellini) who would make their marks in the postwar years. Ben-Ghiat sees these films as the start of the aesthetic revolution that would lead to neo-realism. Shot in Libya, Somalia, and Ethiopia, these movies reinforced Fascist racial and labor policies and were largely forgotten after the war. Ben-Ghiat restores them to Italian and international film history in this gripping account of empire, war, and the cinema of dictatorship."

During a period of heightened global concerns about the movement of immigrants and refugees across borders, Migrant Anxieties explores how filmmakers in Italy have probed the tensions accompanying the country's shift from an emigrant nation to a destination point for over five million immigrants over the course of three decades. �ine O'Healy traces a phenomenology of anxiety that is not only present at the sociopolitical level but also interwoven into the narrative strategies of over 30 films produced since 1990, throwing into sharp relief the interface between the local and the global in this transnational era. Starting with the representation of post-communist migrations to Italy from Eastern Europe and subsequent arrivals from Africa through the controversial frontier of Lampedusa, O'Healy explores topics as diverse as the configuration of migrant labor, affective surrogacy, Italian whiteness, and the legacy of Italy's colonial history. Showing how contemporary filmmaking practices in Italy are linked to changes in the broader media landscape, O'Healy analyzes the ways in which both Italian and migrant filmmakers are reimagining Italian society and remapping the nation's borderscape.

Over the past decade, attribution scholars have come to a consensus that Shakespeare wrote some of the additions printed in the 1602 quarto of Kyd's Spanish Tragedy. This new development in textual studies has far-reaching consequences for established theatre-historical narratives. Accounting for Shakespeare's involvement in The Spanish Tragedy requires us to rethink the history of two major theatre companies, the Admiral's and the Chamberlain's Men, and to reread much of the documentary record of late Elizabethan theatre. Modelling what a theatre-historical response to new attributionist arguments might look like, the author offers an in-depth reinterpretation of Philip Henslowe's records of new plays, develops a novel account of how theatre companies copied and adapted plays in one another's repertories (including a reconsideration of the 'Ur-Hamlet' and the two Shrew plays), and reconstructs an early modern cluster of Hieronimo plays that also allows us to reimagine Ben Jonson's career as an actor.

'What Ned hasn’t seen on a sports TV channel isn’t worth knowing about.' Gabby Logan 'From falling out with Mourinho to flying with Gerrard, this is a wonderful journey through football.' Henry Winter Square Peg, Round Ball is a candid, insightful reminiscence on a life in football. Although best known as ITV's commentator on the Tour de France, Ned Boulting has spent most of his professional life covering football. Follow Ned's journey from football supporter to reporter – from criss-crossing the country in a banger of a car hoping for a word or two from the latest big signing, to the glamour of the Champions League. Ned really has been there, done that, and got the Sky Sports jacket to prove it. Witnessing the shenanigans, the machinations and the idiocy of football at close quarters Ned shares his best stories with affection. Whether it's treading mud into Steven Gerrard's pristine white carpets, or nearly being pushed into oncoming traffic by a menacing Vinnie Jones, or being chased away from Roman Abramovich's house by some scary looking men on quadbikes – Ned has made a fool of himself to bring us the best tales from his experiences in 90s and 2000s football.

Staging Britain's Past is the first study of the early modern performance of Britain's pre-Roman history. The mythic history of the founding of Britain by the Trojan exile Brute and the subsequent reign of his descendants was performed through texts such as Norton and Sackville’s Gorboduc, Shakespeare’s King Lear and Cymbeline, as well as civic pageants, court masques and royal entries such as Elizabeth I’s 1578 entry to Norwich. Gilchrist argues for the power of performed history to shape early modern conceptions of the past, ancestry, and national destiny, and demonstrates how the erosion of the Brutan histories marks a transformation in English self-understanding and identity. When published in 1608, Shakespeare’s King Lear claimed to be a “True Chronicle History�. Lear was said to have ruled Britain centuries before the Romans, a descendant of the mighty Trojan Brute who had conquered Britain and slaughtered its barbaric giants. But this was fake history. Shakespeare’s contemporaries were discovering that Brute and his descendants, once widely believed as proof of glorious ancient origins, were a mischievous medieval invention. Offering a comprehensive account of the extraordinary theatrical tradition that emerged from these Brutan histories and the reasons for that tradition’s disappearance, this study gathers all known evidence of the plays, pageants and masques portraying Britain’s ancient rulers. Staging Britain's Past reveals how the loss of England’s Trojan origins is reflected in plays and performances from Gorboduc’s powerful invocation of history to Cymbeline’s elegiac erosion of all notions of historical truth.

Although Michelangelo Antonioni became one of the icons of “modernist� cinema in the 1960s, his position in the pantheon of great directors has never been quite secure. Unlike his famous contemporaries, such asIngmar Bergman and Luchino Visconti, whose essential contribution to the art of cinema is hardly ever questioned, Antonioni’s work has been repeatedly denigrated from many angles for both aesthetic and political reasons. Though the historical importance of some of Antonioni’s films as an incarnation of certain attitudes and problems characteristic of the 1960s and 70s is not denied, they are often considered passé, artificial and boring. Contesting prevalent readings, which focus on existential and psychological motifs involving anxiety and the malady of sentiments, this book offers a re-evaluation of Antonioni’s most important films interpreted as political cinema engaged with issues which are still crucial in the 21st century. Far from being politically neutral, Antonioni’s oblique and “abstract� approach makes possible the prising open and devaluation of the morally and politically constrictive “organic� narrative structures. HIs approach overthrows the primacy of character and plot, on the one hand, by showing them to be emanations of the spectral materiality of capital, and, on the other hand, by allowing for an opening into the utopian dimension, implying engagement in the rethinking of our attachments to the world.

Lynda La Plante is Britain’s most successful and well known screenwriter and the first woman to win the prestigious Dennis Potter writer’s award. Attracting millions of viewers, the popular and critical success of La Plante’s work is central to understanding changes that shook the UK television industry in the late twentieth century. This critical introduction, the first account of her work, focuses on three innovative serials: Widows (ITV, 1983), Prime Suspect (ITV 1991) and Trial and Retribution (ITV 1997). In each chapter questions of gender and genre, acting and stardom and authorship and value are mapped against the changing relationship between women and the television industry. The final chapter traces La Plante’s metamorphosis from ‘just a writer for hire’ to the astute businesswoman she has become through a focus on the trans-national appeal of dramas such as Killer Net (C4 1997) and Bella Mafia (CBS 1997). -- .

Star Trek: Picard stars Patrick Stewart, reprising his role as Jean-Luc Picard from Star Trek: The Next Generation. The book explores each of the three separate season-long narratives, which tell the story of Picard in later years, as he is brought out of retirement on his family chateau to face old enemies such as the Borg, take command of a new starship, and ultimately reconcile with his past. New characters such as Doctor Jurati (Alison Pill), Cristóbal Rios (Santiago Cabrera), Soji (Isa Briones) and Elnor (Evan Evagora) feature alongside appearances by old enemies and friends, such as Will Riker (Jonathan Frakes), Deanna Troi (Marina Sirtis), the Borg Queen (Annie Wersching), Guinan (Whoopi Goldberg), Data (Brent Spiner), and Q (John de Lancie). Season 3 sees a full-scale Next Generation reunion, featuring Worf (Michael Dorn), Dr. Beverley Crusher (Gates McFadden), and Geordi La Forge (LeVar Burton). Alongside interviews with showrunners, writers, cast, and crew, discussing concepts and character arcs, “Spotlight� features explore makeup, costumes, art, and visual effects. A final section features reflections on the much-beloved character from its original incarnation in Star Trek: Next Generation through to its final satisfying conclusion. This beautifully illustrated hardback, featuring behind-the-scenes and on-set photography, and a range of production art, is an in-depth exploration of a hugely popular and seminal Star Trek character.

The classic of Russian spirituality—now with facing-page commentary that illuminates and explains the text. The Way of a Pilgrim is the timeless account of an anonymous wanderer who set out on a journey across nineteenth-century Russia with nothing but a backpack, some bread, and a Bible, with a burning desire to learn the true meaning of the words of St. Paul: "Pray without ceasing." In this completely accessible new abridgment, all the terms and references are explained for you--with intriguing insights into aspects of the text that are often not available to the general reader.