In a "return" to Edmund Husserl and Sigmund Freud, Intimacy and the Anxieties of Cinematic Flesh explores how we can engage these foundational thinkers of phenomenology and psychoanalysis in an original approach to film. The idea of the intimate spectator caught up in anxiety is developed to investigate a range of topics central to these critical approaches and cinema, including: flesh as a disruptive state formed in the relationships of intimacy and anxiety; time and the formation of cinema's enduring objects; space and things; the sensual, the "real" and the unconscious; wildness, disruption, and resistance; and the nightmare, reading "phantasy" across the critical fields. Along with Husserl and Freud, other key thinkers discussed include Edith Stein, Roman Ingarden, Maurice Merleau-Ponty, Mikel Dufrenne in phenomenology; Melanie Klein, Ernest Jones, Julia Kristeva, and Rosine Lefort in psychoanalysis. Framing these issues and critical approaches is the question: how might Husserlian phenomenology and Freudian/Lacanian psychoanalysis, so often seen as contradistinctive, be explored through their potential commonalities rather than differences? In addressing such a question, this book postulates a new approach to film through this phenomenological/psychoanalytic reconceptualization. A wide range of films are examined not simply as exemplars, but to test the idea that cinema itself can be a version of critical thinking.

I am a Standupster, A Second Generation Survivor's Account, by the Daughter of David Zauder, is the first-ever biography of Internationally Acclaimed Holocaust and Anti-bullying Educator and Speaker, Karen Zauder Brass. Her book is a very rare exploration into the effects of being raised by a parent who suffered the inhumanity of genocide and its unimaginable costs. Brass comes out of the shadows and openly expresses what so few Second Generation Survivors are willing to discuss. The deep injury to their survivor parent's psyches cannot simply be put aside and has deep and lasting effects on their children. From her earliest years, Brass was fully aware of who her surviving parent needed her to be. This is a book of deep introspection that also shares the Author's path to self-acceptance, happiness, and her powerful desire to make changes in our world by educating audiences, one human being at a time, to not stand by and allow for the suffering of others; To be a Standupster(r). Brass provides the descriptive background of her Father, David Zauder's survival of the Krakow Ghetto and four concentration camps including Auschwitz. His survival of a true hell on Earth, and his success in emigrating from Poland, after his liberation by General Patton's 3rd Army Tank Division, then travel from Germany to America and becoming one of this country's leading cornet and trumpet players will inspire you and touch your heart. For educators, Brass weaves her Father's story into a groundbreaking international anti-bullying campaign which has been experienced by thousands of Middle and High School aged students, adults, and hundreds of high-ranking military officials. Acclaimed by educators, principals and parents alike, Brass' Standupster(r) presentations and campaign has been effective in reducing bullying in schools because it provides a rallying cry for everyone to never stand by in the face of hatred, bigotry, and injustice; the program calls on the audience to use personal responsibility and moral leadership to rise together as being a Standupster(r) to stop the bul

Women's filmmaking in France has been a source of both delight and despair. On the one hand, the numbers are impressive - over 250 feature-length films were made by over 100 women directors in France in the 1980s and 1990s. On the other hand, despite the heritage of French feminism, French women directors characteristically disclaim their gender as a significant factor in their filmmaking. This incisive study provides an informative, critical guide to this major body of work, exploring the boundaries between personal films (intimate psychological dramas relating to key stages in life) and genre films (which demonstrate women's ability to appropriate and rework popular genres). It analyzes the effects of postfeminism, women's desire to enter the mainstream, and the impact of a new generation of filmmakers, enabling readers to take stock of the wealth and diversity of women's contribution to French cinema during the 1980s and 1990s.

The Film Theory in Practice Series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. The first book in the series, Psychoanalytic Film Theory and The Rules of the Game, offers a concise introduction to psychoanalytic film theory in jargon-free language and shows how this theory can be deployed to interpret Jean Renoir's classic film. It traces the development of psychoanalytic film theory through its foundation in the thought of Sigmund Freud and Jacques Lacan through its contemporary manifestation in the work of theorists like Slavoj Zizek and Joan Copjec. This history will help students and scholars who are eager to learn more about this important area of film theory and bring the concepts of psychoanalytic film theory into practice through a detailed interpretation of the film.

This is a comprehensive collection of original essays that explore the aesthetics, economics, and mechanics of movie adaptation, from the days of silent cinema to contemporary franchise phenomena. Featuring a range of theoretical approaches, and chapters on the historical, ideological and economic aspects of adaptation, the volume reflects today s acceptance of intertextuality as a vital and progressive cultural force. * Incorporates new research in adaptation studies * Features a chapter on the Harry Potter franchise, as well as other contemporary perspectives * Showcases work by leading Shakespeare adaptation scholars * Explores fascinating topics such as unfilmable texts * Includes detailed considerations of Ian McEwan s Atonement and Conrad s Heart of Darkness

This international collection brings together scientists, scholars and artist-researchers to explore the cognition of memory through the performing arts and examine artistic strategies that target cognitive processes of memory. The strongly embodied and highly trained memory systems of performing artists render artistic practice a rich context for understanding how memory is formed, utilized and adapted through interaction with others, instruments and environments. Using experimental, interpretive and Practice-as-Research methods that bridge disciplines, the authors provide overview chapters and case studies of subjects such as: * collectively and environmentally distributed memory in the performing arts; * autobiographical memory triggers in performance creation and reception; * the journey from learning to memory in performance training; * the relationship between memory, awareness and creative spontaneity, and * memorization and embodied or structural analysis of scores and scripts. This volume provides an unprecedented resource for scientists, scholars, artists, teachers and students looking for insight into the cognition of memory in the arts, strategies of learning and performance, and interdisciplinary research methodology.

The 1720 Imperial Circumcision Celebrations in Istanbul offers the first holistic examination of an Ottoman public festival through an in-depth inquiry into different components of the 1720 event. Through a critical and combined analysis of the hitherto unknown archival sources along with the textual and pictorial narratives on the topic, the book vividly illustrates the festival's organizational details and preparations, its complex rites (related to consumption, exchange, competition), and its representation in court-commissioned illustrated festival books (surnames). To analyze all these phases in a holistic manner, the book employs an interdisciplinary approach by using the methodological tools of history, art history, and performance studies and thus, provides a new methodological and conceptual framework for the study of Ottoman celebrations.

This volume focuses on the singing voice in contemporary cinema from 1945 to the present day, and rather than being restricted to one particular genre, considers how the singing voice has helped define and/or confuse genre classification. Typically heard in song, the singing voice is arguably the most expressive of all musical instruments. This volume celebrates the ways in which singing features in film. This includes the singing voice as protagonist, as narrator, as communicator, as entertainer, and as comedic interlude. Whether the singing voice in film is personally expressive, reflexive and distant, or synchronized for entertainment, there is typically interplay between the voice and visual elements. Extending beyond the body of literature on 'the musical', the volume is not about musicals per se. Rather, The Singing Voice in Contemporary Cinema discusses the singing voice as a distinct genre that focuses on the conceptualization and synchronization of the singing voice in the post-War era. It explores the relationship between screen, singing, singer and song; it celebrates the intersection of the singing voice and popular culture. In doing so, the volume will cross multiple disciplines including vocal studies, film studies, film sound studies, and music production (vocal processing).

The Tragedy of Hamlet, Prince of Denmark, is widely considered Shakespeare's greatest play. Hamlet is confronted by the ghost of his father, who tells him that Hamlet's uncle and mother conspired to poison him. Knowing that his uncle, who now sits upon the throne, and his mother, who has married his uncle and is now his queen, have murdered his father, Hamlet sets out to avenge his father's death and set things to right. But his plan could destroy the entire realm. To be, or not to be-that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles, And by opposing end them. To die-to sleep- No more; and by a sleep to say we end The heartache, and the thousand natural shocks

En el preciso instante en el que Federico Garcia Lorca termino la redaccion de El publico, rubricaba, a su vez, uno de los mayores hitos de su produccion teatral. Consciente que su texto generaria una ruptura con la dramaturgia espanola del momento, la definio como "una pieza para no ser representada, y un poema para ser silbado." Sus palabras, sugerentes a la vez que enigmaticas, definian un texto complejo en su ejecucion, y no menos en su clasificacion. El debate sobre las influencias esteticas presentes en este texto lorquiano oscila, de forma sistematica, entre aquel sector de la critica que lo vincula a una estetica surrealista, o bien bajo la denominacion de "teatro imposible." Sin embargo, sobre la primera de las clasificaciones el propio autor fue muy tajante al respecto, negando cualquier tipo de vinculacion de su estetica con el Surrealismo. En este estudio y edicion critica El Publico emerge como un texto alejado de los etiquetajes convencionales. El texto lorquiano se nutre de fuentes tan diversas como Shakespeare, la dramaturgia aurea espanola y planteamientos esteticos muy alejados de la preceptiva teatral espanola y europea. Por primera vez en la edicion critica de El Publico se plantean nuevos cauces de investigacion, tan sugerentes como aquellas palabras de Garcia Lorca. Este analisis del texto lorquiano y, su edicion critica ha contado con la inestimable colaboracion y aportacion documental de la Fundacion Federico Garcia Lorca. Las fotografias y documentos que se aportan en esta edicion permitiran al lector acercarse a las circunstancias que rodearon a Federico Garcia Lorca durante su estancia en Nueva York y, como estas influyeron en la redaccion de El publico.