"Stop slacking off!" Your parents may have said this to you when you were deep into a video-gaming marathon. Or maybe your roommate said it to you when you were lounging on the couch scrolling through Instagram. You may have even said it to yourself on days you did nothing. But what is so bad about slacking? Could it be that there's nothing bad about not making yourself useful? Against our hyper-productivity culture, Alison Suen critically interrogates our disapproval of slackers-individuals who do the bare minimum just to get by. She offers a taxonomy of slackers, analyzes common objections to slacking, and argues that each of these objections either fails or carries problematic assumptions. But while this book defends slacking, it does not promote the slacker lifestyle as the key to something better (such as cultural advancement and self-actualization), as some pro-leisure scholars have argued. In fact, Suen argues that slacking is unique precisely because it serves no noble cause. Slacking is neither a deliberate protest to social ills nor is it a path to autonomy. Slackers just slack. By examining the culture of hyper-productivity, Suen argues that it is in fact OK to be a slacker. Key Features Demonstrates the uniqueness of slacking, via a critical examination of six distinct "pro-leisure" philosophical accounts. Articulates a taxonomy of slackers, as well as in-depth examinations of Hollywood slackers and slackers in academia. Examines common objections to slacking (like the freeloading problem), and offers a rebuttal to each of them. Offers an understanding of our productivity culture from an existential perspective.

Closer Together, Further Apart offers current unique insight into the cultural shifts brought about by digital technology and the Internet. It considers how these new connections are impacting not only society as a whole, but more specifically communication in relationships and across generations.
Digital technology has in less than a single generation, dramatically and permanently altered the ways in which humans connect and communicate with each other. Conversations and information transfers that once either weren't possible or took days to complete now occur in an instant. Technological advances are profoundly affecting humankind, forcing us to change on multiple levels.
As with all forms of human/social/technological change, these advances will be good for some and bad for others. Those who learn to effectively absorb information and use new technologies in healthy ways will flourish, and those who don't may feel increasingly disconnected from our technology driven world.

Robert Weiss, MSW, is a therapist, international speaker, author, and a blogger on PsychCentral.com, where he writes regularly on the topic of sex and intimacy in the digital age. He was featured in LA Weekly 2013 People issue as one of LA's most fascinating people. He currently serves as Senior Vice-President of Clinical Development for Elements Behavioral Health.

Jennifer P. Schneider, MD, PhD, is a physician, international speaker, and the author of nine books and numerous journal articles.

This book documents the unique reporting practices of humanitarian journalists - an influential group of journalists defying conventional approaches to covering humanitarian crises. Based on a 5-year study, involving over 150 in-depth interviews, this book examines the political, economic and social forces that sustain and influence humanitarian journalists. The authors argue that - by amplifying marginalised voices and providing critical, in-depth explanations of neglected crises - these journalists show us that another kind of humanitarian journalism is possible. However, the authors also reveal the heavy price these reporters pay for deviating from conventional journalistic norms. Their peripheral position at the 'boundary zone' between the journalistic and humanitarian fields means that a humanitarian journalist's job is often precarious - with direct implications for their work, especially as 'watchdogs' for the aid sector. As a result, they urgently need more support if they are to continue to do this work and promote more effective and accountable humanitarian action. A rigorous study of how unique professional practices can be produced at the 'boundary zone' between fields, this book will interest students and scholars of journalism and communication studies, sociology and humanitarian studies. It will also appeal to those interested in studies of news and media work as occupational identities.

This comprehensive companion is a much-needed reference source for the expanding field of radio, audio, and podcast study, taking readers through a diverse range of essays examining the core questions and key debates surrounding radio practices, technologies, industries, policies, resources, histories, and relationships with audiences. Drawing together original essays from well-established and emerging scholars to conceptualize this multidisciplinary field, this book's global perspective acknowledges radio's enduring affinity with the local, historical relationship to the national, and its unpredictably transnational reach. In its capacious understanding of what constitutes radio, this collection also recognizes the latent time-and-space shifting possibilities of radio broadcasting, and of the myriad ways for audio to come to us 'live.' Chapters on terrestrial radio mingle with studies of podcasts and streaming audio, emphasizing continuities and innovations in form and content, delivery and reception, production cultures and aesthetics, reminding us that neither 'radio' nor 'podcasting' should be approached as static objects of analysis but rather as mutually constituting cultural forms. This cutting-edge and vibrant companion provides a rich resource for scholars and students of history, art theory, industry studies, journalism, media and communication, cultural studies, feminist analysis, and postcolonial studies.

In Code Bernard Dionysius Geoghegan reconstructs how Progressive Era technocracy as well as crises of industrial democracy and colonialism shaped early accounts of cybernetics and digital media by theorists including Norbert Wiener, Warren Weaver, Margaret Mead, Gregory Bateson, Claude Levi-Strauss, Roman Jakobson, Jacques Lacan, Roland Barthes, and Luce Irigaray. His analysis casts light on how media-practical research forged common epistemic cause in programs that stretched from 1930s interwar computing at MIT and eugenics to the proliferation of seminars and laboratories in 1960s Paris. This mobilization ushered forth new fields of study such as structural anthropology, family therapy, and literary semiology while forming enduring intellectual affinities between the humanities and informatics. With Code, Geoghegan offers a new history of French theory and the digital humanities as transcontinental and political endeavors linking interwar colonial ethnography in Dutch Bali to French sciences in the throes of Cold War-era decolonization and modernization.

Bringing together distinguished scholars from BRICS nations and those with deep interest and knowledge of these emerging powers, this collection makes a significant intervention in the ongoing debates about comparative communication research and thus contributes to the further internationalization of media and communication studies. The unprecedented expansion of online media in the world's major non-Western nations, exemplified by BRICS (Brazil, Russia, India, China and South Africa) is transforming global communication. Despite their differences and divergences on key policy issues, what unites these five nations, representing more than 20 per cent of the global GDP, is the scale and scope of change in their communication environment, triggered by a multilingual, mobile Internet. The resulting networked and digitized communication ecology has reoriented international media and communication flows. Evaluating the implications of globalization of BRICS media on the reshaping of international communication, the book frames this within the contexts of theory-building on media and communication systems, soft power discourses and communication practices, including in cyberspace. Adopting a critical approach in analysing BRICS communication strategies and their effectiveness, the book assesses the role of the BRICS nations in reframing a global communication order for a 'post-American world'. This critical volume of essays is ideal for students, teachers and researchers in journalism, media, politics, sociology, international relations, area studies and cultural studies.

This new collection of writings on Alfred Hitchcock celebrates the remarkable depth and scope of his artistic achievement in film. It explores his works in relationship both to their social context and to the traditions of critical theory they continue to inspire. The collection draws on the best of current Hitchcock scholarship, featuring the work of both new and established scholars. It displays the full diversity of critical methods that have characterized the study of this director's films in recent years. The articles are grouped into four thematic sections: "Authorship and Aesthetics" examines Hitchcock as auteur and investigates central topics in Hitchcockian aesthetics. "French Hitchcock" looks at Hitchcock's influence on filmmakers such as Chabrol, Truffaut and Rohmer, and how film critics such as Bazin and Deleuze have engaged with Hitchcock's work. "Poetics and Politics of Identity" explores the representation of personal and political in Hitchcock's work, and the final section, "Death and Transfiguration" addresses the manner in which the spectacle and figuration of death haunts the narrative universe of Hitchcock's films, in particular his subversive masterpiece "Psycho,"

A definitive guide to contemporary video game studies, this second edition has been fully revised and updated to address the ongoing theoretical and methodological development of game studies. Expertly compiled by well-known video game scholars Mark J. P. Wolf and Bernard Perron, the Companion includes comprehensive and interdisciplinary models and approaches for analyzing video games, new perspectives on video games both as an art form and cultural phenomenon, explorations of the technical and creative dimensions of video games, and accounts of the political, social, and cultural dynamics of video games. Brand new to this second edition are essays examining topics such as preservation, augmented, mixed and virtual reality, eSports, disability, diversity, and identity, as well as a new section that specifically examines the industrial aspects of video games including digital distribution, game labor, triple-A games, indie games, and globalization. Each essay provides a lively and succinct summary of its target area, quickly bringing the reader up-to-date on the pertinent issues surrounding each aspect of the field, including references for further reading. A comprehensive overview of the present state of video game studies that will undoubtedly prove invaluable to students, scholars, and game designers alike.

Strategic Communication deals with the principles behind strategic communication planning. It covers the professional practice steps involved in researching, planning, writing, evaluating and implementing a communication strategy. This book links strategic communication campaign planning to medium and long-term business activity and to how organisations deal with issues. This thoroughly revised third edition includes: New international cases and professional exercises that will enable students to work through the cases and apply theory to real-life situations; New discussion questions on important aspects of campaign planning; Chapter exercises that encourage students to think more broadly about communication strategy and work through the particular aspects of a strategy; In Theory panels that highlight key theories and demonstrate important links between theory and practice Accessible and comprehensive, this is an essential text for students of professional communication and professionals transitioning into the field of Strategic Communication.

This anthology contributes to creating awareness on how digital ageism operates in relation to the widely spread symbolic representations of old and young age, the (lack of) representation of diverse older individuals in the design, development, and discourses and in the actual algorithms and datasets. It also shows how individuals and institutions deal with digital ageism in everyday life. In the past decades, digital technologies permeated most aspects of everyday life and became ingrained into human existence. With a focus on how age is represented and experienced in relation to digital technologies leading to digital ageism, digitalisation's reinforcement of spirals of exclusion and loss of autonomy of some collectives is explored, when it could be natural for a great part of society and represent a sort of improvement. The book addresses social science students and scholars interested in everyday digital technologies, society and the power struggles about it, providing insights from different parts of the globe. By using different methods and touching upon different aspects of digital ageism and how it plays out in contemporary connected data societies, this volume will raise awareness, challenge power, initiate discussions and spur further research into this field.

This collection calls greater attention to the need for a clearer understanding of the role of discourse in the process of placemaking in the digital age and the increasing hybridisation of physical and virtual worlds. The volume outlines a new conceptualisation of place in the time of smartphones, whose technological and social affordances evoke placemaking as a collaborative endeavour which allows users to create and maintain a sense of community around place as shareable or collective experience. Taken together, chapters argue for a greater emphasis on the ways in which users employ discourse to manage this physical-virtual interface in digital interactions and in turn, produce "remixed" cultural practices that draw on diverse digital semiotic resources and reflect their everyday experiences of place and location. The book explores a wide range of topics and contexts which embody these dynamics, including livestreaming platforms, mourning in the digital age, e-service encounters, and Internet forums. While the overlay of physical and virtual information on location-based media is not a new phenomenon, this volume argues that, in the face of its increasing pervasiveness, we can better understand its unfolding and future directions for research by accounting for the significance of place in today's interactions. This book will be of interest to students and scholars in discourse analysis, digital communication, pragmatics, and media studies.

This book reviews the development and performance of the global film industry during the COVID-19 pandemic and examines new trends in film production, distribution and consumption through a global lens. The COVID-19 pandemic has had a substantial impact on the global film industry since the beginning of 2020. There has been significant transformation in terms of film production, distribution and consumption. Hollywood as well as many national cinemas across the globe have suffered the most significant impact at all levels: the interruption of new film productions, shutdowns of movie-theatres in many countries and the delay of new films' release among them. Many movies made for cinemas were forced to move from theatrical release to various streaming platforms and non-traditional production companies continued to grow their market share. This book places the global film industry in a post-Pandemic context. It provides detailed analyses of specific systems of film production, distribution and consumption in national cinemas as well as Hollywood, whilst also engaging with the key theoretical and methodological questions from the film studies literature. This volume is a critical reference for students and scholars of film studies and general readers who are interested in the new trends and transformation of the global film industry in a post-Pandemic era.

This volume explores the applications of narrative and storytelling in corporate, public health and political communications, and its implications for those fields. Using diverse research methods including surveys, experiments, case studies and content analyses, an international team of authors first explore conceptual and theoretical issues of narrative persuasion, then examine the impact and application of narratives in science communication, political advertising, corporate communication and social movement, before discussing the use of stories in community building, identity construction and civic engagement. This timely volume will be of interest to academics, researchers and graduate students who are interested in narratives and communications, within the areas of public relations, public communication, organizational communication, strategic communication, risk and crisis communication, and political communication.

"The Television Studies Reader" brings together key writings in the growing field of television studies, providing an invaluable overview of the development of the field, and addressing issues of industry, genre, audiences, production and ownership, and representation.
The "Reader" charts the ways in which television and television studies are being redefined to include new and "alternative" forms and technologies such as cable television, direct satellite/digital broadcasting, home video, video art, video/digital applications on the internet, interactive TV, video surveillance, and converging media. It explores the recent boom in reality TV and includes discussions of television programs and practices from around the world. The "Reader" comprises 44 foundational and cutting-edge articles from an international cast of contributors, situating the study of television in relation both to its global reach and to the many and varied local contexts of its production and reception, and laying out a wide array of approaches to the study of the changing phenomenon of television around the world. The essays are organized in seven themed sections: * Institutions of Television * Spaces of Television * Modes of Television * Making Television * Social Representation on Television * Watching Television * Transforming Television Key features include a comprehensive bibliography and a list of further reading.

Contents:
Part One: Media Theory / Spatial Theory 1 The Doubling of Place: Electronic Media, Time-Space Arrangements and Social Relationships 2 Kinetic Screens: Epistemologies of Moving Media 3 Neither Poison or Cure: Space Scale and Public Life in Media Theory 4 The Attractions of Television: Reconsidering Liveness Part Two: Work, Leisure, and the Spaces in Between 5 The Marketable Neighbourhood: Commercial Latinidad in New York's Harlem 6 Media, Bodies and Spaces of Ehtnography: Beauty Salons in Casablanca, Cairo and Paris 7 Spaces of Television: The Structuring of Consumers in a Swedish Shopping Mall 8 Dot.com Urbanism 9 Industrial Geography Lessons: Socio-Political Rituals and the Borderlands of Production Culture Part Three: New Media Spaces 10 The Webcam Subculture and the Digital Enclosure 11 Crossing the Media(n): Auto-mobility, the Transported Self, and Technologies of Freedom 12 Something Spatial in the Air: In-Flight Entertainment and the Topographies of Modern Air Travel 13 An Ontology of Everyday Control: Space, Media Flows and 'Smart' Living in the Absolute Present
14 'To Each Their Own Bubble': Mobile Spaces of Sound in the City

Look out! There's a Snaffle about, and she'll eat your screen as a snack! When the Snaffle arrives in the city, she just wants to play, but everyone's too busy staring at their screens. The Snaffle discovers that she likes screens, too - as a snack! When she chomps down every last screen in the city, that's when the fun really starts . . . Screens away, it's time to play in this warm, funny, and very timely tale from the creators of The Snatchabook. A brightly illustrated rhyming tale for the whole family to enjoy! Helen and Thomas Docherty are the author and illustrator behind The Snatchabook, The Knight Who Wouldn't Fight and Abracazebra

Contents:
Preface
Acknowledgements
1. Introduction
2. The Market in Snuff Films
3. Stolen Body Parts
4. Shopping Mall and Theme Park Abductions
5. Debunkers and their Orbit
6. Crime Legends and the Role of Belief
7. Crime Legends and the Politics of Fear and Protection
8. A Summary
Appendices
Bibliography

This volume: * Uses the Coronavirus pandemic to explore the link between news sentiment and global financial markets * Shows how the COVID-19 crisis differs from the Global Financial Crisis of 2008 * Focuses on the Noise vs Signal in news sentiment * will be invaluable for business professionals, bankers, media professionals, and investment consultants.

This book examines the visual-sexual turn in social media discourses in the field of online activism with a particular focus on the extraordinary protest years of 2018-2020. Presenting a socially engaged theory of "tit-for-tat media" and including case-studies on activist movements such as the Euro-American alt-right, the pro-democracy movement in Hong Kong, and revolutionary artists in China, this study reveals how visual cultures, including gendered or sexualized imagery, are utilized to influence public perception. By presenting in-depth explorations of online ethnography, interviews with activists and studies of the political histories and urban protests-environments, the volume uncovers how local artists, netizens and citizens are using media and digital imagery in contemporary activism. Covering a broad spectrum of social media content, from hyper-cute manga and cartoons to satirical pornography and sexualized hate-speech, it will be of huge interest to students and scholars of media and communication studies, political communication, sexuality and gender studies.

Series Information:
New Accents

'Hollywood' as a concept applies variously to a particular film style, a factory-based mode of film production, a cartel of powerful media institutions and a national (and increasingly global) 'way of seeing'. It is a complex social, cultural and industrial phenomenon and is arguably the single most important site of cultural production over the past century.
This collection brings together journal articles, published essays, book chapters and excerpts which explore Hollywood as a social, economic, industrial, aesthetic and political force, and as a complex historical entity.

Contents:
Chapter 1 Candid Camera and the Origins of Reaality TV: Contextualising a historical Precedent; Chapter 2 From Ozzie Nelson to Ozzy Osbourne: The genesis and development of the Reality (star-) sitcom; Chapter 3 'This is about real people!': video technologies, actuality and affect in the television crime appeal; Chapter 4 Reality TV, troublesome pictures and panics: Reappraising the public controversy around Reality TV in Europe; Chapter 5 'All you;ve got to worry about is the task, having a cup of tea, and doing a bit of sunbathing...': Approaching Celebrity in Big Brother; Chapter 6 Temporalities of the Real: Conceptualising Time in Reality TV; Chapter 7 In Search of Community on Reality TV: America's Most Wanted and Survivor; Chapter 8'The New You': Class and Transformation in Lifestyle Television; Chapter 9 Gender, Class and Race in TLC's A Wedding Story and A Baby Story; Chapter 10 The Household, the Basement and The Real World: Gay Identity and the Construted Reality Environment; Chapter 11 'It isn't always Shakespeare but it's genuine': Cinema's commentary on documentary hybrids; Chapter 12 Big Brother: Reconfiguring the 'active' audience of cultural studies?; Chapter 13 'Jump in the Pool': The Competetive Culture of Survivor Fan Networks

Professional football is one of the most popular television 'genres' worldwide, attracting millions of fans, and the sponsorship of powerful companies. In A Game of Two Halves, Cornel Sandvoss considers football's relationship with television, its links with transnational capitalism, and the importance of football fandom in forming social and cultural identities around the globe presenting the phenomenon of football as a reflection of postmodern culture and globalization.Through a series of case studies, based on ethnographic audience research, Cornel Sandvoss explores the motivations and pleasures of football fans, the intense bond formed between supporters and their clubs, the implications of football consumption on political discourse and citizenship, football as a factor of cultural globalisation, and the pivotal role of football and television in a postmodern cultural order.

Contents:
Volume I
Part 1: Essence and Specificity
1. Ricciotto Canudo, 'The Birth of the Sixth Art', translated by Ben Gibson, Don Ranvaud, Sergio Sokota and Deborah Young, Framework, 13, Autumn 1980, pp. 3-7. (Originally published in Les Entretiens Idealistes, 25th October, 1911).
2. Vachel Lindsay, 'Sculpture-in-Motion', in The Art of the Moving Picture, (New York: Macmillan, 1915), pp. 79-96.
3. Hugo Münsterberg , 'The Means of the Photoplay', in The Photoplay: A Psychological Study, (New York: D. Appleton and Company, 1916), pp. 170-190.
4. Louis Delluc, 'Photogénie', in Pierre Lherminier, ed., Ecrits Cinématographiques I: Le Cinéma et les Cinéastes, (Paris: Cinémathèque Française, 1985), pp. 34-35. (Originally published in Paris, 1920).
5. Jean Epstein, 'On Certain Characteristics of Photogénie', translated by Tom Milne, Afterimage, 10, Autumn 1981, pp. 20-23. (Originally published in Jean Epstein, Le Cinématographe vu de l'Etna, Paris: Les Écrivains réunis, 1923).
6. Germaine Dulac, 'The Essence of the Cinema: The Visual Idea', translated by Robert Lamberton, in P. Adams Sitney, ed., The Avant-Garde Film: A Reader of Theory and Criticism, (New York: New York University Press, 1978), pp. 36-42. (Originally published in Les Cahiers du Mois, 16/17, 1925).
7. Maya Deren, 'The Instrument of Discovery and the Instrument of Invention/The Art of Film', in An Anagram of Ideas on Art, Form and Film, (New York: Alicat Bookshop Press, 1946), pp. 44-52.
8. Stan Brakhage, Extracts from 'Metaphors on Vision': subtitled 'Metaphors on Vision' and 'The Camera Eye', Film Culture, Fall 1963, unpaginated.
9. Noël Carroll, 'Concerning Uniqueness Claims for Photographic and Cinematographic Representation', Dialectics and Humanism, 14, 2, 1987, pp. 29-43.
Part 2: Language
10. Sergei Eisenstein, Extract from 'The Montage of Film Attractions', translated by Richard Taylor, in Richard Taylor, ed., S. M. Eisenstein: Writings 1922-34 Selected Works Volume 1, (London: British Film Institute, 1988), pp. 39-49. (Originally published in 1924).
11. Viktor Shklovsky, 'The Semantics of Cinema', translated by Richard Taylor, in Ian Christie and Richard Taylor, eds., The Film Factory: Russian and Soviet Cinema in Documents 1896-1939, (London: Routledge & Kegan Paul, 1988), pp. 131-133. (Originally published as V. B. Shklovskii, 'Semontika kino', Kinozhumal A. R. K., 8, August, 1925).
12. V. I. Pudovkin, 'The Plastic Material', translated by Ivor Montagu, in On Film Technique: Three Essays and an Address by V. I. Pudovkin, (London: Victor Gollancz Ltd., 1929), pp. 50-72. (Originally published in 1926).
13. Lev Kuleshov, 'Montage as the Foundation of Cinematography', translated by Ronald Levaco, in Ronald Levaco, ed., Kuleshov on Film: Film Writings by Lev Kuleshov, (Berkeley: University of California Press, 1974), pp. 42-55. (Originally published in 1929).
14. André Bazin, 'The Evolution of the Language of Cinema', translated by Hugh Gray, in Hugh Gray, ed., What is Cinema? Vol. 1, (Berkeley: University of California Press, 1967), pp. 23-40. (Revised from articles originally published in 1950, 1952 and 1955).
15. Christian Metz, extract from 'The Cinema: Language or Language System?', translated by Michael Taylor, in Film Language: A Semiotics of the Cinema, (New York: Oxford University Press, 1974), pp. 31-91. (Extract: pp. 31-57, pp. 61-65, pp. 67-69). (Originally published in Christian Metz, Essais sur la signification au cinema, 1964).
16. Peter Wollen, 'The Semiology of the Cinema', in Signs and Meaning in the Cinema, (London: Secker and Warburg in Association with the British Film Institute, 1969), pp. 116-155.
17. Roland Barthes, 'The Third Meaning: Research Notes on some Eisenstein Stills', translated by Stephen Heath, in Image-Music-Text, (London: Fontana, 1977), pp. 52-68. (Originally published as 'Le troisiéme sens: Notes de recherché sur quelques photogrammes de S. M. Eisenstein', Cahiers du cinema, 222, 1970).
Part 3: Technologies
18. Henry V. Hopwood, 'Past, Present, and Future', in Living Pictures: Their History, Photo-Production and Practical Working, (London: The Optician and Photographic Trades Review, 1899), pp. 225-234.
19. Filippo Tommaso Marinetti, Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla and Remo Chiti, 'The Futurist Cinema', translated by R. W. Flint, in R. W. Flint, ed., Marinetti: Selected Writings, (New York: Farrar, Straus and Giroux 1971), pp. 130-134. (Originally published as 'La cinematogria futurista' in L'Italia futurista, November 15, Milan, 1916).
20. Dziga Vertov, 'Kinoks: A Revolution', translated by Kevin O'Brien, in Annette Michelson, ed., Kino-Eye: The Writings of Dziga Vertov, (Berkeley: University of California Press, 1984), pp. 11-21. (Originally published in 1923).
21. Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction', translated by Harry Zohn, in Hannah Arendt, ed., Illuminations: Essays and Reflections, (New York: Harcourt, Brace and World, 1968), pp. 219-253. (Originally published in 1936).
22. André Bazin, 'The Myth of Total Cinema', translated by Hugh Gray, in Hugh Gray, ed., What is Cinema? Vol. 1, (Berkeley: University of California Press, 1967), pp. 17-22. (Originally published as 'Le mythe du cinéma total', in Critique, 1946).
23. Claudia Springer, 'The Pleasure of the Interface', Screen, 32, 3, Autumn 1991, pp. 303-323.
24. Lev Manovich, 'Digital Cinema and the History of a Moving Image', in The Language of New Media, (Cambridge, Mass.; London: MIT Press, 2001), pp. 293-308. (An earlier version of this article was originally published in 1996).

Volume II
Part 4: Authorship
25. François Truffaut, 'A Certain Tendency of the French Cinema', translator not specified, Cahiers du Cinema in English, 1, January 1966, pp. 30-41. (Originally published in 1954).
26. Andrew Sarris, 'Notes on the Auteur Theory in 1962', Film Culture, 27, Winter 1962, pp. 1-8.
27. Geoffrey Nowell-Smith, 'Luchino Visconti: Introduction', in Luchino Visconti, (London: Secker & Warburg in Association with the British Film Institute, 1967), pp. 7-13.
28. Peter Wollen, 'The Auteur Theory', in Signs and Meaning in the Cinema, (London: Secker & Warburg in Association with the British Film Institute, 1969), pp. 74-115.
29. Peter Wollen, 'Signs and Meaning in the Cinema: Conclusion', in Signs and Meaning in the Cinema, Revised Edition, (London: Secker & Warburg in Association with the British Film Institute, 1972), pp. 155-175.
30. John Caughie, 'Fiction of the Author/Author of the Fiction', in John Caughie, ed., Theories of Authorship: A Reader, (London: Routledge & Kegan Paul in association with the British Film Institute, 1981), pp. 199-207.
31. Timothy Corrigan, 'Auteurs and the New Hollywood', in Jon Lewis, ed., The New American Cinema, (Durham, NC: Duke University Press, 1998), pp. 38-63.
Part 5: Genre
32. Steve Neale, 'Definitions of Genre', in Genre and Hollywood, (London: Routledge, 2000), pp. 9-29.
33. André Bazin, 'The Western or the American Film par Excellence', translated by Hugh Gray, in What is Cinema? Vol. 2, (Berkeley: University of California Press, 1972), pp. 140-148 . (Originally published as 'Le western ou le cinéma américain par excellence', preface to J.-L. Rieupeyrout, Le western ou le cinéma américain par excellence, 7eme Art, Éditions du Cerf, 1953.)
34. Nino Frank, 'A New Kind of Police Drama: The Criminal Adventure', translated by Alain Silver, in Alain Silver and James Ursini, eds., Film Noir Reader 2, (New York: Limelight Editions, 1999), pp. 15-19. (Originally published in 1946).
35. Jean-Pierre Chartier, 'Americans also Make Noir Films', translated by Alain Silver, in Alain Silver and James Ursini, eds., Film Noir Reader 2, (New York: Limelight Editions, 1999), pp. 21-23. (Originally published in 1946).
36. Robert Warshow, 'The Gangster as Tragic Hero', Partisan Review, February 1948, pp..
37. Paul Schrader, 'Notes on Film Noir', Film Comment, 8, 1, Spring 1972, pp. 8-13.
38. Jim Collins, 'Genericity in the Nineties: Eclectic Irony and the New Sincerity', in Jim Collins, Hilary Radner and Ava Preacher Collins, eds., Film Theory Goes to the Movies: Cultural Analysis of Contemporary Film, (New York: Routledge Inc., 1993), pp. 242-263.
39. Steve Neale, 'Issues, Conclusions and Questions', in Genre and Hollywood, (London: Routledge, 2000), pp. 251-255.
Part 6: Narrative and Narration
40. Julia Lesage, 'S/Z and Rules of the Game', Jump Cut: A Review of Contemporary Cinema, 12-13, Winter 1976-77, pp. 45-51.
41. Will Wright, 'The Structure of Myth' (Extract), 'Myth as a Narrative of Social Action' and 'Individuals and Values: The Classical Plot', in Sixguns and Society: A Structural Study of the Western, (Berkeley: University of California Press, 1977), pp. 16-28 (Extract: pp. 25-28), pp. 124-129 and pp. 130-153.
42. David Bordwell, 'Principles of Narration', in Narration in the Fiction Film, (Madison, Wis.: University of Wisconsin Press, 1985), pp. 48-62.
43. Bill Nichols, 'Form Wars: The Political Unconscious of Formalist Theory', South Atlantic Quarterly, 88, 2, Spring 1989, pp. 487-515.
44. Tom Gunning, 'Theory and History: Narrative Discourse and the Narrator System', in D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph, (Urbana: University of Illinois Press, 1991), pp. 10-30 .
45. Edward Branigan, 'Levels of Narration', in Narrative Comprehension and Film, (London: Routledge, 1992), pp. 87-124.
Volume III
Part 7: Audiences and Spectatorship
46. Maxim Gorky, 'The Lumière Cinematograph', translated by Richard Taylor, in Ian Christie and Richard Taylor, eds., The Film Factory: Russian and Soviet Cinema in Documents 1896-1939, (London: Routledge & Kegan Paul, 1988), pp. 25-26. (Originally published as 'I.M. Pacatus', 'Beglye zametki. Sinematograf Lyum'era', Nizhegorodskii listok, 4 July 1896).
47. Emilie Altenloh, 'A Sociology of the Cinema: The Audience', translated by Kathleen Cross, Screen, 42, 3, Autumn 2001, pp. 249-293. (Originally published as Zur Soziologie des Kino, 1914).
48. Laura Mulvey 'Visual Pleasure and Narrative Cinema', Screen, 16, 3, Autumn 1975, pp. 6-18.
49. Laura Mulvey, 'Afterthoughts on 'Visual Pleasure and Narrative Cinema' Inspired by Duel in the Sun (King Vidor, 1946)', Framework, 15-17, 1981, pp. 12-15.
50. Tom Gunning, 'An Aesthetic of Astonishment: Early Film and the Incredulous Spectator', Art and Text, 34, Spring 1989, pp. 31-45.
51. Mary Carbine, '"The Finest Outside the Loop": Motion Picture Exhibition in Chicago's Black Metropolis, 1905-1928', Camera Obscura, 22, 1990, pp. 9-41.
52. Jackie Stacey, 'Feminine Fascinations: A Question of Identification?', in Star Gazing: Hollywood Cinema and Female Spectatorship, (London: Routledge, 1994), pp. 126-175.
Part 8: Personal Identities and Representation
53. Geraldyn Dismond, 'The Negro Actor and the American Movies', in James Donald, Anne Friedberg and Laura Marcus, eds., Close Up 1927-1933: Cinema and Modernism, (Princeton, NJ: Princeton University Press, 1999), pp. 73-79. (Originally published in Close Up, 5, 2, August 1929, pp. 6-13).
54. Parker Tyler, 'Mother Superior of the Faggots and Some Rival Queens', in Screening the Sexes: Homosexuality in the Movies, (New York: Holt, Rinehart and Winston, 1972), pp. 1-16.
55. Claire Johnston, 'Women's Cinema as Counter-Cinema', in Claire Johnston, ed., Notes on Women's Cinema, (London: Society for Education in Film and Television, 1973), pp. 24-31.
56. Teresa de Lauretis, 'Aesthetic and Feminist Theory: Rethinking Women's Cinema', New German Critique, 34, Winter 1985, pp. 154-175.
57. Richard Dyer, 'White', Screen, 29, 4, Autumn 1988, pp. 44-64.
58. bell hooks, 'The Oppositional Gaze: Black Female Spectators' in Black Looks: Race and Representation, (London: Turnaround, 1992), pp. 115-131.
59. Judith Butler, 'Gender is Burning: Questions of Appropriation and Subversion', in Bodies that Matter: On the Discursive Limits of "Sex", (New York: Routledge Inc., 1993), pp. 121-140.
60. Yvonne Tasker, 'Women Warriors: Gender, Sexuality and Hollywood's Fighting Heroines', in Spectacular Bodies: Gender, Genre and the Action Cinema, (London: Routledge, 1993), pp. 14-34.
Part 9: Cultural Identities, Colonialism and Postcolonialism
61. Fernando Solanas and Octavio Getino, 'Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World', translated by Julianne Burton and Michael Chanan, in Michael Chanan, ed., Twenty-five Years of the New Latin American Cinema, (London: British Film Institute and Channel Four Television, 1983), pp. 17-27. (Originally published in 1969)
62. Julio García Espinosa, 'For an Imperfect Cinema', translated by Julianne Burton, in Michael Chanan, ed., Twenty-five Years of the New Latin American Cinema, (London: British Film Institute and Channel Four Television, 1983), pp. 28-33. (Originally published in 1970).
63. The Committee on Peoples Cinema (under the Chairmanship of Lamine Merbah), 'Resolutions of the Third World Film-Makers Meeting, Algiers, Algeria, December 5-14, 1973', Cineaste Pamphlet No. 1, Cineaste Magazine, 1974, unpaginated.
64. Homi K. Bhabha, 'The Other Question: The Stereotype and Colonial Discourse', Screen, 24, 6, November/December 1983, pp. 18-36.
65. Teshome H. Gabriel, 'Towards a Critical Theory of Third World Films', in Altaf Gauhar, ed., Third World Affairs 1985, (London: Third World Foundation, 1985), pp. 355-369.
66. Trinh T. Minh-ha 'Outside In Inside Out', in Jim Pines and Paul Willemen, eds., Questions of Third Cinema, (London: British Film Institute, 1989), pp. 133-149.
67. Stuart Hall, 'Cultural Identity and Cinematic Representation', Framework, 36, 1989, pp. 68-81.
68. Edward Said, 'Jungle Calling: On Johnny Weissmuller's Tarzan', Interview, 19, 6, June 1989, pp. 60-65 & p. 112.
Volume IV
Part 10: Realism and the Real
69. Siegfried Kracauer, Extract from 'Basic Concepts', in Theory of Film: The Redemption of Physical Reality, (Oxford: Oxford University Press, 1960), pp. 27-39 (Extract: p. 27 & pp. 30-39).
70. André Bazin, 'The Ontology of the Photographic Image', translated by Hugh Gray, in Hugh Gray ed., What is Cinema? Vol. I, (Berkeley: University of California Press, 1967), pp. 9-16. (Originally published as 'Ontologie de l'image photographique', Problemes de la peinture, 1945).
71. Rudolf Arnheim, 'Film and Nature', translated by L. M. Sieveking and Ian F. D. Morrow, in Film, (London: Faber and Faber, 1933), pp. 17-38.
72. Cesare Zavattini, 'Some Ideas on the Cinema', translated by Pier Luigi Lanza, Sight and Sound, 23, 2, October-December 1953, pp. 64-69. (Originally published in 1952).
73. Colin MacCabe, 'Realism and the Cinema: Notes on some Brechtian Theses', Screen, 15, 2, Summer 1974, pp. 7-27.
74. Raymond Williams, 'A Lecture on Realism', Screen, 18, 1, Spring 1977, pp. 61-74.
75. Stephen Prince, 'True Lies: Perceptual Realism, Digital Images, and Film Theory', Film Quarterly, 49, 3, Spring 1996, pp. 27-37.
76. Julia Hallam with Margaret Marshment, Extract from 'Space, Place and Identity: Re-viewing Social Realism', in Realism and Popular Cinema, (Manchester: Manchester University Press, 2000), pp. 184 -219 (Extract: pp. 190-219).
Part 11: Modernism and Postmodernism
77. Peter Wollen, 'The Two Avant-Gardes', Studio International: Film Issue, 190, 978, November-December 1975, pp. 171-175.
78. Dziga Vertov, 'We: Variant of a Manifesto', translated by Kevin O'Brien, in Annette Michelson, ed., Kino-Eye: The Writings of Dziga Vertov, (Berkeley: University of California Press, 1984), pp. 5-9. (Originally published in 1922).
79. Sergei Eisenstein, 'The Problem of the Materialist Approach to Form', translated by Richard Taylor and William Powell, in Richard Taylor, ed., The Eisenstein Reader, (London: British Film Institute, 1998), pp. 53-59. (Originally published as 'K vopruso o materialisticheskom podkhode k forme' Kinozhurnal ARK, 4/5, April/May, 1925).
80. Peter Gidal, 'Theory and Definition of Structural/Materialist Film', Studio International: Film Issue, 190, 978, November-December 1975, pp. 189-196.
81. J. Hoberman, 'Vulgar Modernism', Artforum, 20, 6, February 1982, pp. 71-76.
82. Jean Baudrillard, 'The Evil Demon of Images', translated by Paul Patton and Paul Foss, Power Institute Of Fine Arts Publication Number 3, 1987, pp. 13-31. (Originally from 'The Evil Demon of Images', The First Mari Kuttna Memorial Lecture, The University of Sydney, 25th July 1984).
83. Fredric Jameson ,'Postmodernism and Consumer Society', in Ann E. Kaplan, ed., Postmodernism and Its Discontents: Theories, Practices, (London: Verso, 1988), pp. 13-29.
84. Giuliana Bruno, 'Ramble City: Postmodernism and Blade Runner', October, 41, Summer 1987, pp. 61-74.
85. Linda Hutcheon, 'Postmodern Film?', in The Politics of Postmodernism, (London: Routledge, 1989), pp. 107-117.
86. Peter Brooker and Will Brooker, 'Pulpmodernism: Tarantino's Affirmative Action', in Deborah Cartmell, I. Q. Hunter, Heidi Kaye and Imelda Whelehan, eds., Pulping Fictions: Consuming Culture Across the Literature/Media Divide, (London: Pluto Press, 1996), pp. 135-151.
Part 12: Economics and Globalisation
87. Janet Staiger, Extract from 'The Hollywood Mode of Production 1930-1960', in David Bordwell, Janet Staiger and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production, (London: Routledge, 1988), pp. 311-319, (Extract: 313-319).
88. Mae D. Huettig, 'The Motion Picture Industry Today', in Economic Control in the Motion Picture Industry: A Study in Industrial Organization, (Philadelphia: University of Pennsylvania Press, 1944), pp. 54-95.
89. Thomas H. Guback, 'Hollywood's International Market', in Tino Balio (ed.), The American Film Industry, (Madison, Wis.: University of Wisconsin Press, 1976), pp. 387-409.
90. Tino Balio, '"A Major Presence in all of the World's Important Markets": The Globalization of Hollywood in the 1990s', in Murray Smith and Steve Neale (eds.), Contemporary Hollywood Cinema, (London: Routledge, 1998), pp. 58-73.
91. Constance Balides, 'Jurassic Post-Fordism: Tall Tales of Economics in the Theme Park', Screen, 41, 2

Following on from the phenomenally successful Shakespeare, The Movie, this volume brings together an invaluable new collection of essays on cinematic Shakespeares in the 1990s and beyond. Shakespeare, The Movie, II:
*focuses for the first time on the impact of post-colonialism, globalization and digital film on recent adaptations of Shakespeare;
*takes in not only American and British films but also adaptations of Shakespeare in Europe and in the Asian diapora;
*explores a wide range of film, television, video and DVD adaptations from Almereyda's Hamlet to animated tales, via Baz Luhrmann, Kenneth Branagh, and 1990s' Macbeths, to name but a few;
*offers fresh insight into the issues surrounding Shakespeare on film, such as the interplay between originals and adaptations, the appropriations of popular culture, the question of spectatorship, and the impact of popularization on the canonical status of "the Bard."
Combining three key essays from the earlier collection with exciting new work from leading contributors, Shakespeare, The Movie, II offers sixteen fascinating essays. It is quite simply a must-read for any student of Shakespeare, film, media or cultural studies.