Given Herzog's own pronouncement that 'film is not the art of scholars, but of illiterates,' it is not surprising that his work has aroused ambivalent and contradictory responses. Visually and philosophically ambitious and at the same time provocatively eccentric, Herzog's films have been greeted equally by extreme adulation and extreme condemnation. Even as Herzog's rebellious images have gained him a reputation as a master of the German New Wave, he has been attacked for indulging in a romantic naivete and wilful self-absorption. To his hardest critics, Herzog's films appear as little more than Hollywood fantasies disguised as high seriousness. This book is an attempt to illuminate these contradictions. It gathers essays that focus from a variety of angles on Herzog and his work. The contributors move beyond the myths of Herzog to investigate the merits of his work and its place in film history. A challenging range of films is covered, from Fata Morgana and Aguirre, the Wrath of God to more recent features such as Nosferatu and Where the Green Ants Dream, offering the reader ways of understanding why, whatever the controversies surrounding Herzog and his films, he remains a major and popular international filmmaker. Orignally published in 1986.

Meet Diane, a permaculture gardener dripping with butch charm. She's got supernatural abilities owing to her true identity--the Greek god Dionysus--and she's returned to the modern world to gather mortal followers and restore the Earth to its natural state. Where better to begin than with four housewives in a suburban New Jersey cul-de-sac? In this Obie-winning comedy with a twist, Pulitzer Prize finalist Madeleine George pens a hilarious evisceration of the blind eye we all turn to climate change and the bacchanalian catharsis that awaits us, even in our own backyards.

We have grown accustomed to the ubiquity of corporate influence in retail outlets, restaurants, and even higher education-but what happens when corporations take over desire? The Naked Result: How Exotic Dance Became Big Business explores the changing world of striptease, tracing its path from the unruly underground to brightly lit, branded "gentlemen's clubs." Drawing on her own experience as an exotic dancer, Jessica Berson examines the ways that striptease embodies conflicting notions of race, class, and female sexuality, and how the exotic dance industry deploys these differences to codify and commodify our erotic imagination. Chain clubs, fitness programs, and music videos are moving exotic dance into the mainstream, and stripping its historical potential to embody and express subversive desires-erotic and otherwise-and generate resistant modes of female erotic subjectivity. Through case studies including Boston's Combat Zone in the 1970s-80s, the development of lap dancing in London in the 1990s, and the triumph of corporate striptease in post-Giuliani New York City in the last decade, The Naked Result reveals an industry that increasingly eradicates individuality and agency in order to increase profits. Ultimately, The Naked Result argues that corporatization has cheerfully smothered the diversity of sexual desire and expression for both dancers and customers, repackaging the most mysterious human emotions into easily branded experiences no more personal or powerful than those to be found in any themed restaurant or coffee mega-chain.

Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for today's film editors, motion designers, and other media artists.

A gripping story of sibling loyalty in the last days of medieval Japan. The first novel in a trilogy from the iconic Assassin's Creed universe. Japan, 1868. The Boshin War is about to break out. The Templars have infiltrated the Emperor's closest advisors and push the sovereign to launch an attack against the Tokugawa Shogun, who is supported by the Brotherhood of Assassins. Is the glorious era of the samurai almost over? 16-year-old Atsuko grew up in the affluent areas of the city of Aizu in the shadow of her brother Ibuka. Destined for an arranged marriage, the girl hides a secret: she can wield weaponry just as well as her brother, whose skill with the blade hides an insurmountable fear of combat. When war breaks out, Ibuka must set off to fight alongside his father. Defying the tradition forbidding women from joining the army in order to protect her brother, Atsuko secretly joins up in disguise, desperate to prove her skills. But faced with plots that go far beyond them, will the strength of the siblings' bond prove strong enough?

Special Make-Up Effects concentrates on the genre of horror characters and other special creations (fantasy, sci-fi, etc), giving tips about the materials, techniques, and 'tricks of the trade' necessary to create unique make-up effects. This focused volume is a scaled-down version of Vincent Kehoe's encyclopedic reference for professional make-up artists. It contains new segments and photographs. This book shows how many of cinema's most famous characters and effects were developed. It gives students and make-up artists the techniques they need to perform their own magic.

Pensar el estudio de la comunicacion como una "guerra" implica reconocer que este no es un campo de estudio delimitado por una sola disciplina o una estricta definicion del concepto "comunicacion". Exige, tambien, identificar diversas tradiciones de investigacion, asi como explorar los principales dilemas que han guiado varias disciplinas en distintas epocas historicas y latitudes del mundo. Esta coleccion de tres volumenes propone analizar la comunicacion y los medios desde diversas trincheras. Estos diversos panoramas enfoques, tradiciones, epocas, escuelas, autores y sus preocupaciones dialogan entre si. No hay consensos definitivos; pero tampoco perdedores o ganadores en el debate. La "guerra" consiste, entonces, en identificar lo que esta en juego; reconocer la diversidad de opiniones e intereses, y; considerar el vasto arsenal disponible para resolver los grandes dilemas de la comunicacion. Volumen III. Preguntas y metodolgias de investigacion Este tercer volumen de la coleccion La comunicacion y sus guerras teoricas analiza las principales preguntas y metodologias que han guiado la investigacion y la docencia en esta area de estudio. Las aportaciones de las y los autores giran en torno a tres ejes que, de modo general y como revisan los dos tomos anteriores, organizan este campo de estudio: (1) el poder aparentemente ilimitado de los medios; (2) los efectos y los usos de la informacion, y; (3) el papel que juegan las audiencias en los procesos de comunicacion masiva. Organizados en estos tres apartados, los capitulos de este tomo analizan las principales preguntas y las metodologias de investigacion que han resultado utiles ante los dilemas que impone el poder de los medios, las perpetuas revoluciones tecnologicas, el constante flujo de contenidos mediaticos o la multiplicacion de roles que adquieren las audiencias ante nuevas plataformas, tendencias comunicativas y espacios de participacion. El objetivo en esta revision es exhortar a las nuevas generaciones a plantear alternativas ante retos (quiza aparentemente) insolitos e incluso infranqueables a los que nos enfrentan la comunicacion y los medios en estas primeras decadas del siglo XXI.

In Drawing Life, Thomas J. Cottle examines the ways people interpret their life experiences and construct meanings for the events they have encountered. In this manner, they discover their various identities and the essence of what we call the self. In reading the sixteen life studies contained in this volume, we encounter both inner reflections as well the power of culture to shape the meanings people give to their circumstances and the events that befall them. The stories also reflect the role of human relationships and social institutions in defining our personal identities and sense of justice. What makes us unique, therefore, is the personal story we tell as it reveals our constructions of the world and of ourselves. The stories recounted in Drawing Life illuminate not only our past, but also our perceptions of the present and our imaginings of the future. In this way, they become anthologies of our life experiences.

If California is a state of mind, Barbara Isenberg's interviews with more than fifty of California's prominent painters, writers, composers, architects, directors, and performers help explain why. They include Dave Brubeck, Joan Didion, Clint Eastwood, Lawrence Ferlinghetti, Frank Gehry, David Hockney, Randy Newman, Maxine Hong Kingston, Luis Valdez, Larry Gelbart, Matt Groening, Robert Graham, Carol Burnett, Michael Tilson Thomas, and many others. Some were born in California; others came from afar for its light, space, natural beauty, and opportunity. In these conversations, they talk about how they became artists and how living in California influences their work. They offer a kaleidoscopic view of the many ways that environment affects and nurtures the creative process.

Diversity and Design explores how design - whether of products, buildings, landscapes, cities, media, or systems - affects diverse members of society. Fifteen case studies in television, marketing, product design, architecture, film, video games, and more, illustrate the profound, though often hidden, consequences design decisions and processes have on the total human experience. The book not only investigates how gender, race, class, age, disability, and other factors influence the ways designers think, but also emphasizes the importance of understanding increasingly diverse cultures and, thus, averting design that leads to discrimination, isolation, and segregation. With over 140 full-color illustrations, chapter summaries, discussion questions and exercises, Diversity and Design is a valuable tool to help you understand the importance of designing for all.

'A dense, challenging and important book.' Philip French Observer 'At the very least, this blockbuster is probably the best single volume history of Hollywood we're likely to get for a very long time.' Paul Kerr City Limits 'Persuasively argued, the book is also packed with facts, figures and photographs.' Nigel Andrews Financial Times Acclaimed for their breakthrough approach, Bordwell, Staiger and Thompson analyze the basic conditions of American film-making as a historical institution and consider to what extent Hollywood film production constitutes a systematic enterprise, in both its style and its business operations. Despite differences of director, genre or studio, most Hollywood films operate within a set of shared assumptions about how a film should look and sound. Such assumptions are neither natural nor inevitable; but because classical-style films have been the type most widely seen, they have come to be accepted as the 'norm' of film-making and viewing. The authors show how these classical conventions were formulated and standardized, and how they responded to the arrival of sound, colour, widescreen ratios and stereophonic sound. They argue that each new technological development has served a function within an existing narrational system. The authors also examine how the Hollywood cinema standardized the film-making process itself. They describe how, over the course of its history, Hollywood developed distinct modes of production in a constant search for maximum efficiency, predictability and novelty. Set apart by its combination of theoretical analysis and empirical evidence, this book is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s. Now available in paperback, it is a 'must' for film students, lecturers and all those seriously interested in the development of the film industry.

Pensar el estudio de la comunicacion como una "guerra" implica reconocer que este no es un campo de estudio delimitado por una sola disciplina o una estricta definicion del concepto "comunicacion". Exige, tambien, identificar diversas tradiciones de investigacion, asi como explorar los principales dilemas que han guiado varias disciplinas en distintas epocas historicas y latitudes del mundo. Esta coleccion de tres volumenes propone analizar la comunicacion y los medios desde diversas trincheras. Estos diversos panoramas enfoques, tradiciones, epocas, escuelas, autores y sus preocupaciones dialogan entre si. No hay consensos definitivos; pero tampoco perdedores o ganadores en el debate. La "guerra" consiste, entonces, en identificar lo que esta en juego; reconocer la diversidad de opiniones e intereses, y; considerar el vasto arsenal disponible para resolver los grandes dilemas de la comunicacion. Volumen III. Preguntas y metodolgias de investigacion Este tercer volumen de la coleccion La comunicacion y sus guerras teoricas analiza las principales preguntas y metodologias que han guiado la investigacion y la docencia en esta area de estudio. Las aportaciones de las y los autores giran en torno a tres ejes que, de modo general y como revisan los dos tomos anteriores, organizan este campo de estudio: (1) el poder aparentemente ilimitado de los medios; (2) los efectos y los usos de la informacion, y; (3) el papel que juegan las audiencias en los procesos de comunicacion masiva. Organizados en estos tres apartados, los capitulos de este tomo analizan las principales preguntas y las metodologias de investigacion que han resultado utiles ante los dilemas que impone el poder de los medios, las perpetuas revoluciones tecnologicas, el constante flujo de contenidos mediaticos o la multiplicacion de roles que adquieren las audiencias ante nuevas plataformas, tendencias comunicativas y espacios de participacion. El objetivo en esta revision es exhortar a las nuevas generaciones a plantear alternativas ante retos (quiza aparentemente) insolitos e incluso infranqueables a los que nos enfrentan la comunicacion y los medios en estas primeras decadas del siglo XXI.

"Written with unequivocal enthusiasm for film, feminism and theory, "Women and Film" is a welcome and useful guide to a complex area."--"The Arts"
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Backed by the resources of Independent Feature Project/West, co-authors Nicole Shay LaLoggia and Eden H. Wurmfeld have written the definitive low-budget production manual. Using examples from the Swingers and Kissing Jessica Stein, this comprehensive manual offers the independent filmmaker a single volume reference covering every aspect of making a film: script rights and rewrites, financing, breakdown, scheduling and budgeting, pre-production, production, postproduction, and distribution. A resource guide listing useful references and organizations, as well as a glossary, complete this guide. The downloadable resources feature interviews with important figures in the independent film industry, including Billy Bob Thornton and Ang Lee. Forms that are illuminated in the text are also included on the downloadable resources for ease of use. The new edition is updated with thorough coverage of digital and HD-how to decide which to shoot on, what the financial impact is, and the effect on preproduction. There is also a new chapter on distribution and expanded material on postproduction.

Jack and the Beanstalk, Little Jack Horner and Jack the Giant Killer are all famous tales and rhymes featuring the same hero, a character who often appears in legends, fairy tales, and nursery rhymes. Unlike moralizing fairy tale heroes, however, Jack is typically depicted as foolish or lazy, though he often emerges triumphant through cleverness and tricks. With their roots traced back to England, Jack tales are an important oral tradition in Appalachian folklore. It was in his Appalachian upbringing that Kevin D. Cordi was first introduced to Jack through oral storytelling traditions. Cordi's love of storytelling eventually led him down a career path as a professional storyteller, touring the US for the past twenty-seven years. In addition to his work as a storyteller, Cordi worked a second job in an unrelated field-a high school teacher-and for many years, he kept his two lives separate. Everything changed when Cordi began telling stories in the classroom and realized he was connecting with his students in ways he had not previously. Cordi concluded that storytelling, storymaking, and drama can be used as systems of learning instead of as just entertainment. In You Don't Know Jack: A Storyteller Goes to School, Cordi describes the process of integrating storytelling into his classroom. Using autoethnographic writing, he reflects upon the use of storytelling and storymaking in order to promote inquiry and learning. He argues that engaging with the stories of others, discovering that one voice or identity should not be valued over the other, and listening, especially listening to stories of difference, are of utmost importance to education and growth.

In these pages Roger Corman, the most successful independent filmmaker in Hollywood relates his experiences as the director and/or producer of such low-budget classics Attack of the Crab Monsters, The Little Shop of Horrors, The Raven, The Man with the X-ray Eyes, The Wild Angels, The Trip, Night Call Nurses, Bloody Mama, Piranha, and many others. He also discusses his distribution of the Bergman, Fellini, and Truffaut movies that later won Academy Awards in the Best Foreign Film category. Corman alumni,John Sayles, Martin Scorsese, Jack Nicholson, Vincent Price, Francis Ford Coppola, Peter Bogdanovich, Peter Fonda, Joe Dante, and Jonathan Demme, among others,contribute their recollections to give added perspective to Corman's often hilarious, always informative autobiography.

Matt returns from a break at work to the company lunch room, where he meets new employee Melora. A spark ignites almost immediately, but the blossoming friendship is still subject to life's realities of age, responsibility, and commitment. Meanwhile Matt's wife Arianne has plans for a celebratory evening at home that get interrupted by an unintentional spark of her own. Birthday Boy is about what happens when there's a sudden connection between two people that if pursued could interfere with a life that has been going along just fine; about the paths we choose to take and those we choose not to; the commitments we do honor, the worthwhile sacrifices we must make. In short, a celebration of the messy, imperfect, life that being a husband, a wife, a father, a mother, all entails in order to evolve into the grownups we're meant to be.

The award-winning VES Handbook of Visual Effects remains the most complete guide to visual effects techniques and best practices available today. This new edition has been updated to include the latest, industry-standard techniques, technologies, and workflows for the ever-evolving fast paced world of visual effects. The Visual Effects Society (VES) tasked the original authors to update their areas of expertise, such as AR/VR Moviemaking, Color Management, Cameras, VFX Editorial, Stereoscopic and the Digital Intermediate, as well as provide detailed chapters on interactive games and full animation. Additionally, 56 contributors share their best methods, tips, tricks, and shortcuts developed through decades of trial and error and real-world, hands-on experience. This third edition has been expanded to feature lessons on 2.5D/3D Compositing; 3D Scanning; Digital Cinematography; Editorial Workflow in Animated and Visual Effects Features; Gaming updates; General Geometry Instancing; Lens Mapping for VFX; Native Stereo; Real-Time VFX and Camera Tracking; Shot/Element Pulls and Delivery to VFX; Techvis; VFX Elements and Stereo; Virtual Production; and VR/AR (Virtual Reality / Augmented Reality). A must-have for anyone working in or aspiring to work in visual effects, The VES Handbook of Visual Effects, Third Edition covers essential techniques and solutions for all VFX artists, producers, and supervisors, from pre-production to digital character creation, compositing of both live-action and CG elements, photorealistic techniques, and much more. With subjects and techniques clearly and definitively presented in beautiful four-color, this handbook is a vital resource for any serious VFX artist.

Charting the intersection of aesthetic representation and the material conditions of urban space, The City Since 9/11 posits that the contemporary metropolis provides a significant context for reassessing theoretical concerns related to narrative, identity, home, and personal precarity. In the years since the September 11 attacks, writers and filmmakers have explored urban spaces as contested sites-shaped by the prevailing discourses of neoliberalism, homeland security, and the war on terror, but also haunted by an absence in the landscape that registers loss and prefigures future menace. In works of literature, film, and television, the city emerges as a paradoxical space of permanence and vulnerability and a convergence point for anxieties about globalization, structural inequality, and apocalyptic violence. Building on previous scholarship addressing trauma and the spectacle of terror, the contributors also draw upon works of philosophy, urban studies, and postmodern geography to theorize how literary and visual representations expose the persistent conflicts that arise as cities rebuild in the shadow of past ruins. Their essays advance new lines of argument that clarify art's role in contemporary debates about spatial practices, gentrification, cosmopolitanism, memory and history, nostalgia, the uncanny and the abject, postmodern virtuality, the politics of realism, and the economic and social life of cities. The book offers fresh readings of familiar post-9/11 novels, such as Jonathan Safran Foer's Extremely Loud & Incredibly Close, but it also considers works by Teju Cole, Joseph O'Neill, Silver Krieger, Colum McCann, Ronald Sukenick, Jonathan Lethem, Thomas Pynchon, Colson Whitehead, Paul Auster, William Gibson, Amitav Ghosh, and Katherine Boo. In addition, The City Since 9/11 includes essays on the films Children of Men, Hugo, and the adaptation of Extremely Loud & Incredibly Close, chapters on the television series The Bridge, The Killing, and The Wire, and an analysis of Michael Arad's Reflecting Absence and the 9/11 Memorial.

Does Australia really need to improve the quality and storytelling approach of its films? Or is it more important to change its film distribution? Film is in flux. The old ways have been undermined and new ways are not yet fully defined. Audience behaviour is changing. The author asserts that the Australian film industry is clinging to an archaic approach to distribution. For too long, policymakers have conflated the 'film industry' with the 'production sector' and chronically ignored marketing, distribution and exhibition as key factors that engage audiences and create demand for local films. This Platform Paper engages with those filmmakers working with peer-to-peer, crowdfunded, low-cost and direct-to-viewer delivery and asks: what can digital distribution do for Australian film? The answers are surprising and controversial.

This 80-card deck uncovers the memories of the soul. Astrology, personal insights, and symbolism in daily life are revealed.

African American theater buildings were theaters owned or managed by blacks or whites for an African American audience. Such theaters included nickelodeons, vaudeville houses, musical houses and neighborhood movie theaters. Although nearly 2,000 African American theater buildings existed in the 20th century, very little has been written about them. In this book, the African American theater buildings from 1900 through 1955 are arranged by state, then by city, and then alphabetically under the name by which they were known. The street address, dates of operation, number of seats, architect, whether it was a member of TOBA (Theater Owners Booking Association), type of theater (nickelodeon, vaudeville, musical, drama or picture), alternate name(s), race and name of manager or owner, whether the audience was mixed, and the fate of the theater are provided where known. Commentary by theater historians is also provided.