The twenty-four essays in this collection represent the best contributions to the Sixth International Conference on the Fantastic in the Arts. All the essays are comparative or interdisciplinary in nature. Their foci range from the psychological aspects of art and literature, to the political implications of fiction and drama, the philosophic and linguistic dimensions of poetry, and the use of landscape in science fiction and fantasy illustration. The contributors also explore the connections between the fantastic and subjects such as religion, myth, the grotesque, the occult, Gothicism, feminism, and even perceptions of reality.

Veteran agent Steve Stevens offers insight into breaking into TV, movies, etc-particularly in the LA market.

Public awareness of bullying has increased tremendously in recent years, largely through its representation in film, television and novels. In popular media targeted towards young readers and viewers, depictions of bullying can present teachable moments and relatable situations. Written from a variety of perspectives, this collection of new essays offers a broad overview of bullying in popular culture. The contributors discuss the changing face of bullying in popular media, bullying among females, parents who cyberbully, anti-bullying novels, the phenomenon of schadenfreude obsessed culture, and how reality television shapes youth perceptions of acceptable aggressiveness.

As early as 1760 and as late as 1920, Romantic drama dominated Spanish peninsular theatre. The love affair with Romanticism influenced the formation of a modern national identity, an identity that depended heavily on re(defining) women's place in nineteenth-century society. Those women who defied traditional roles became a font of modern anxiety--both in society and on stage. The adulteress embodied the fear of rebellious women, modern growing pains, and the political instability of war and invasion. It is the conflicted portrayal of women that creates a compelling performance of Spanish national identity. By looking at the Romantic adulteress on display over many decades, we are able to gain insight into the uneasy dance between progress and tradition in nineteenth-century Spain.

The story of American repertory theatre actress Jolly Della Pringle is best described as an odyssey filled with travel, adventure, dramatic events, romance and many changes in fortune. She lived an extraordinary life in interesting times on the closing frontier of the American West. In the days before radio, motion pictures and television, traveling repertory companies used wagons, stagecoaches and railroads to bring entertainment to cities and towns across America. No history of this movement would be complete without the tale of Jolly Della Pringle who was a major star to the people in the gold fields, cow towns, logging camps, military forts rural communities in the West and Midwest during the decades before and after the turn of the twentieth century. Here for the first time is Della Pringle's saga including her rise from teenage hotel maid to a magnificently gowned star of her own theatrical company, her amassing of a fortune, her coast to coast fame and her appearances in Mack Sennett's Keystone Kops comedies. She knew most of the performers in the show business of her time including Buffalo Bill Cody, Charlie Chaplin, John Gilbert and Gloria Swanson. Her personal life was equally eventful: she married and divorced a “sinful� five times.

John Fowles wrote five compelling stories later made into motion pictures. This book examines for the first time the film and video adaptations of these stories, as well as Fowles's role in adapting his literary genius to visual media. Besides his authorship of the screenplay for The Magus (1968), Fowles was an uncredited contributor to The Collector (1965) and The French Lieutenant's Woman (1971), and to the British television adaptations The Ebony Tower and The Enigma. His unpublished short story The Last Chapter was adapted as a theatrical short film satirizing the James Bond novels. Few are aware that the 1997 thriller The Game was a brilliant adaptation of The Magus, or that Fowles himself acted out scenes from that novel for a Greek television documentary. This book gives deserved recognition to John Fowles as a contributor to cinema, a medium he both loved and distrusted, where his stories acquired vivid alternative lives.

How did Brazilian theatre survive under the military dictatorship of 1964-1985? How did it change once the regime was over? This collection of new essays is the first to cover Brazilian theatre during this period. Brazilian scholars and artists discuss the history of a theatre community that not only resisted the regime but reinvented itself and continued to develop more sophisticated forms of expression even in the face of competition from television and other media. The contributors recount the struggle to stage meaningful plays at a time when some artists and intellectuals were exiled, others imprisoned, tortured or killed. With the return of democracy other important issues arose: how to ensure space for different practices and for regional theatre, and how to continue producing international plays that could be meaningful for a Brazilian audience.

Neil Simon is the most successful American playwright on Broadway, and the winner of many awards including the Pulitzer Prize for Drama, the Mark Twain Prize for Humor, and a Kennedy Center Honor for Lifetime Achievement. Many of his plays have been adapted into films and made-for-television movies, and he has written original screenplays and television specials. This book provides a catalogue of Simon's screen work with cast and crew information, synopses, release dates, reviews, awards and DVD availability. Notes on each film cover his narrative subjects and themes as well as adaptation, direction and performance.

Winner of the Theatre Library Association’s 2021 Richard Wall Memorial Award for an exemplary work in the field of recorded performance. Cinema on the Front Line offers the first comprehensive history and analysis of how the medium of cinema intersected with the lives of British soldiers during the First World War. Documenting the wartime use of cinema, from domestic recruitment drives to makeshift theatrical venues established on the front line, and then in convalescent hospitals and camps, this book provides evidence of the previously unacknowledged importance of the medium as recreational support and entertainment for soldiers living through the trauma of conflict. Presenting the fruits of his archival research, the author makes extensive use of war diaries and other military records to foreground the voices and perspectives of British soldiers themselves. Including discussion of over 70 films, this book will interest specialists in British film history, propaganda film, exhibition and audience studies, as well as historians and students of the First World War, propaganda and the military. DOI: https://doi.org/10.47788/LAML7430

The economic and cultural changes Cuba experienced following the collapse of the Soviet Union compelled Cuban filmmakers to rethink the revolutionary values and esthetics developed after the 1959 revolution. Long-forgotten genres re-emerged, established auteurs incorporated new aesthetic devices into their films and an influx of foreign capital led to the repackaging of revolutionary ideology into more visually attractive narratives. Films such as Alice in Wondertown (1991), Strawberry and Chocolate (1993) and Juan of the Dead (2011) stirred controversy, criticized revolutionary discourse and helped establish new industrial models that allowed post-Castro national cinema to find global audiences on an unprecedented scale. This exploration of transformations in the Cuban film industry offers a detailed analysis of key post-Cold War Cuban films. Recurrent esthetic and sociopolitical tropes are examined to discover how Cuban cinema reflects the turbulent changes the island has experienced.

Why does the 1974 war in Cyprus remain so dominant in Greek-Cypriot cinema? How has this event shaped the imagination of contemporary filmmakers, and how might one define the new national cinema that has emerged as a result? This book explores such questions by analysing a range of Greek-Cypriot films that have hitherto received little or no critical discussion. The book adopts a predominantly conceptual approach, situating contemporary Greek-Cypriot cinema within a specific cultural and national context. Drawing on the work of the French philosopher Gilles Deleuze, and particularly his theories of time and space, the author explores ways in which Greek-Cypriot directors invent new forms of imagery as a way of dealing with the crisis of history, the burden of memory and the dislocation of the island’s abandoned spaces.

Bringing together papers presented at the Academic Conference on Canadian Science Fiction and Fantasy from 2005 to 2013, this collection of fresh essays includes two plenary session keynote addresses - by Veronica Hollinger and by Robert Runte - and 15 papers on science fiction and fantasy literature, television and music by Canadian creators. Authors discussed include Charles de Lint, Nalo Hopkinson, Tanya Huff, Esther Rochon, Peter Watts and Robert Charles Wilson. Papers on the television show Supernatural and the Scott Pilgrim comics series are also included.

These new essays examine the many ways that issues of gender and sexuality intersect with other identities and practices - including race, religion, disability, music and education - on the Fox hit program Glee. With gender and sexuality concerns at the crux, the authors tackle such specific aspects of the show as the coming out narrative, Glee fandom and fan fiction, representation of sex education, and the intersection of Broadway music and queerness. The aim of these essays is to open up a dialogue about Glee - which is often dismissed by critics and fans alike - and to reveal how scholars are critically engaging with the show around issues of gender and sexuality.

Drawing on the works of Shakespeare and American screenwriter Joss Whedon, this study in narrative ethics contends that Whedon is the Shakespeare of our time. The Bard wrote before the influence of the modern moral philosophers, while Whedon is writing in the postmodern period. It is argued that Whedon's work is more in harmony with the early modern values of Shakespeare than with modern ethics, which trace their origin to 17th and 18th-century moral philosophy. This study includes a detailed discussion of representative works of Shakespeare and Whedon, showing how they can and should be read as forms of narrative ethics.

Vince Gilligan's Breaking Bad has emerged as a defining example of the recent renaissance in television-making. The sheer breadth and visionary scope of the series demand that it receive extensive critical engagement. The contributors collected here, from chemists and midwives to philosophers and novelists, examine a variety of themes in Breaking Bad. Walter White is discussed as father, as psychopath, as a scientist, and as an example of masculinity. The writers look at the series in terms of gender, neo-liberal politics, and health care reform as well as the more traditional aesthetic categories of narrative construction, experimentation, allusion, and genre. With television emerging as the dominant artistic genre of the early 21st century America, Breaking Bad should not simply be seen as a wildly popular phenomenon, but also as a superbly designed artwork that reflects widespread cultural concerns and crises. The series' complexity warrants the rigorous analysis that it here receives.

The 2nd of the 24 Marvel Cinematic Universe Infinity Saga film titles being published as a complete set. Behind every great Iron Man stands a dedicated group of artists – and now, their secrets are revealed. In The Art of Iron Man 2, you’ll find everything from preliminary sketches to fully rendered 3-D images; storyboards to intricate set designs; and all the heroes, villains and technology you’ve ever imagined! All of Iron Man’s new armors, all of Whiplash’s weapons, Tony Stark’s lab and more are profiled with art and commentary from creators (including comic book fan-favorite Adi Granov). Plus: an unbelievable fold-out section, and the never-before-seen artwork of the movie’s thrilling climax.

With diverse contributions from scholars in English literature, psychology, and film and television studies, this collection of essays contextualizes Fringe as a postmodern investigation into what makes us human, and as an examination of how technology invariably transforms our humanity. The essays provide a provocative meditation on how a stellar example of science fiction television comments on the state of personal identity in a 21st century society dependent on technology that both enlivens and threatens the individual. In compiling this collection, the editors sought material as multifaceted as the series itself, devoting sections to specific areas of interest explored by both the writers of Fringe and the writers of the essays: humanity, duality, genre, and viewership. Taken together, the section headings serve as a map to the many thematic readings the editors and contributors apply to Fringe.

It's a collection of profiles, most of which are being published for the first time, of the process that today's top horror actors underwent before and during shooting to transform themselves into the people we saw on screen, from both the perspective of the frightening (i.e., the villains) and the frightened (i.e., the prey). It's about what they did to take a new step as members of one of the film world's oldest and most popular genres. The horror world is often full of impossibility - although many consider the realistic to be the most frightening of all - and taking on such a role requires a different sort of preparation than drama, romance, or others that could occur. The cornerstone of this book is preparation: what went into becoming these characters, so often trapped in impossible or at least unthinkable worlds, on the individuals' own, long before the cameras began to role? That's a question that hasn't been asked enough in writing, but it gets answered many different ways here, and often for the first time ever, even from those experienced with acting itself.

Upon its original publication in 1962, Edward Wagenknecht's The Movies in the Age of Innocence immediately earned recognition as a classic in the history of early cinema. A tribute to American silent film from the first-person perspective of one who grew up with the medium, the volume surveys the pre-feature and feature era of silent films from a distinctly literary standpoint and considers the careers of directors like D. W. Griffith and Erich von Stroheim, and actors such as Charlie Chaplin, Mary Pickford and Lillian Gish. With nearly 90 illustrations from early films, fan magazines and brochures, indices of film titles and credits, and an appendix containing Wagenknecht's otherwise unavailable 1927 pamphlet Lillian Gish: An Interpretation, this third edition retains its significance today.

This book fills a very basic and useful function in its bibliographic essays surveying the literature. . . . A comprehensive guide for lovers and students of animation. Recommended for most reference collections. Library Journal.

Isabelle Cornaro, based in Paris and Geneva, holds degrees in art history and visual arts. She has a strong interest in experimental cinema and devotes herself to the narrative, symbolic, and economic origins of things. In her work she assumes an anthropologist-type manner to investigate people's seemingly fixated attachment to emotionally charged, even fetishised objects, creating large stage installations and short movies. This book is part of the new On Words series that presents conversations with contemporary women artists. Through them, readers come to understand the sources from which they draw inspiration, the themes in their work, and their view of the world. Edited by Julie Enckell, Federica Martini, and Sarah Burkhalter and bringing together a wide range of viewpoints, the On Words series adds a new narrative to polyphonic art history as told by those who actively shape it. Text in English and French.

This is a wonderful overview of the remarkable range of dog portraits--there are no human sitters--produced over the last 250 years. It features well-known works such as Rosa Bonheur's Brizo, (one of the best-loved portraits in The Wallace Collection), George Stubbs' Turk, Thomas Gainsborough's portrait of his two dogs Tristram and Fox, Lucian Freud's oil painting of Pluto, his pet whippet, and David Hockney's dachshunds Stanley and Boodgie.Over 50 works, arranged by theme, are drawn from major British collections, including the Royal Collection, the V & A, Tate Britain, the British Museum, and a wealth of regional museums and private collections. In addition memorabilia and souvenirs-bronzes, photos, brooches, and Faberge works, many relating to the British royals, especially Queen Victoria and her children- all evoke the sense of a cabinet of curiosities. This is a must-have for dog lovers.

As the popularity of film grew and audiences demanded longer stories, Hollywood began borrowing plots as well as actors and directors from Broadway - some of these play-to-films were triumphs and others were inexplicable duds. This reference work is an annotated guide to American stage productions remade for film and television, with works ranging from late 19th-century American plays and musicals, through silent and sound films, to made-for-video productions by PBS, A&E, HBO, and others. Each alphabetically listed entry provides complete credits for the play or musical: date, theatre, playwright, cast (with characters) and crew, length of run, along with choreographer, song titles, and authors of the score where available. The screen versions follow, listing alternate titles, date, studio, screenwriter, cast (with characters), director, and producer. Each entry concludes with detailed commentary on the productions; it describes what changes occurred between the formats, determines the strengths and weaknesses of each, judges the success of the transition, and describes how the end product was received. A bibliography and name and title indexes complete this cross-referenced work.

If the made-for-television movie has long been regarded as a poor stepchild of the film industry, then telefilm horror has been the most uncelebrated offspring of all. Considered unworthy of critical attention, scary movies made for television have received little notice over the years. Yet millions of fans grew up watching them--especially during the 1970s--and remember them fondly. This exhaustive survey addresses the lack of critical attention by evaluating such films on their own merits. Covering nearly 150 made-for-TV fright movies from the 1970s, the book includes credits, a plot synopsis, and critical commentary for each. From the well-remembered Don't Be Afraid of the Dark to the better-forgotten Look What's Happened to Rosemary's Baby, it's a trustworthy and entertaining guide to the golden age of the televised horror movie.

This book is an informal attempt at defining the genre of medieval film by describing its features and analysing its effects and their significance, there being few works presently available that work toward such definition. There are three parts: the introduction enters the medieval film world, describing its typical features and showing how they create a convincing sense of its time; three short chapters discuss authenticity, simplicity and spectacle-the roots of film medievalism; and six longer chapters comment on individual films. Works are discussed that extend the reach of the genre, such as Dreyer's La Passion de Jeanne D'Arc with its emotional range, or Bergman's Seventh Seal, which creates a universal symbolism. In short, the author describes what goes into a medieval film and how it affects its audience, while offering suggestions about why its themes are meaningful to us.