While moving image advertising has been around us, everywhere, for at least a century, the topic has tended to be overlooked by cinema studies. This far-reaching new collection makes an incisive contribution to a new field of study, by exploring the history, theory and practice of moving image advertising, and emphasising the dynamic and lasting relationships between print, film, broadcasting and advertising cultures.In chapters written by an international ensemble of leading scholars and archivists, the book covers a variety of materials from pre-show advertising films to lantern slides and sponsored 'educations'. With case studies of advertising campaigns and archival collections from a range of different countries, and giving consideration to the problems that advertising materials pose for preservation and presentation, this rich and expansive text testifies to the need for a new approach to this burgeoning subject that looks beyond the mere study of promotional film.

Andrey Tarkovsky, the genius of modern Russian cinema--hailed by Ingmar Bergman as "the most important director of our time"--died an exile in Paris in December 1986. In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.

In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

Welcome to the glam and fab world of Sam Faiers - star of the hit TV programme The Only Way is Essex. Read on to find out what it takes to be a REAL Essex Girl. The Oxford Dictionary definition of an 'Essex Girl': A brash, materialistic young woman of a type supposedly found in Essex or surrounding areas in the south-east of England. The Sam Faiers definition of an 'Essex Girl': A stylish, hard-working, big-hearted and family-minded young woman found in Brentwood or nearby areas (and Marbs). At the start of 2010 Sam Faiers was a normal 19-year-old girl from Brentwood: she was working in a local bank, plotting a glamour modelling career and planning what outfit to wear to Sugar Hut. Then the first episode of TOWIEaired, and suddenly Sam was catapulted into a world of champagne cocktails, TV studios, nightclubs and paparazzi. In Living Life the Essex Way, Sam lifts the lid on her childhood, her rise to fame and her beauty regime, as well as her dating rules, dealing with instant fame, the men in her life and what really goes on behind the scenes on the hit ITV2 show.

Written based on the author's own notes compiled over 18 years This manual is a learning tool focusing exclusively on the work of animators. explains the principles of physics applicable to any motion

Leading international scholars consider the films and legacy of Howard Hawks. Diverse contributions consider Hawks' work in relation to issues of gender, genre and relationships between the sexes, discuss key films including Rio Bravo, The Big Sleep and Red River, and address Hawks' visual style and the importance of musicality in his film-making.

Critics abhorred it, audiences loved it, and Hammer executives where thrilled with the box office returns: The Curse of Frankenstein was big business. The 1957 film is the first to bring together in a horror movie the 'unholy two', Christopher Lee and Peter Cushing, together with the Hammer company, and director Terence Fisher, combinations now legendary among horror fans. In his Devil's Advocate, Marcus Harmes goes back to where the Hammer horror production started, looking at the film from a variety of perspectives: as a loose literaryadaptation of Mary Shelley's novel; as a film that had, for legal reasons, to avoid adapting from James Whale's 1931 film for Universal Pictures; and as one which found immediate sources of inspiration in the Gainsborough bodice rippers of the 1940s and the poverty row horrors of the 1950s. Later Hammer horrors may have consolidated the reputation of the company and the stars, but these works had their starting point in the creative and commercial choices made by the team behind The Curse of Frankenstein. In the film sparks fly, new life is created and horrors unleashed but the film itself was a jolt to 1950s cinema going that has never been entirely surpassed.

An intimate and engrossing celebration of the first ten years of the beloved TV series Call the Midwife. Learn the up-close and personal story of Call the Midwife as told by the cast and crew. Call the Midwife: A Labour of Love is a moving journey through the iconic series and features personal reflections, photos of fan-favourite moments, and anecdotes and insights from co-stars, producers, technical crew, and guests. Each chapter, spanning each of the ten years of Call the Midwife - set from 1957-1966 - takes a deep dive into the themes, locations, fun times and technical challenges from each season. Author Stephen McGann, who plays the indefatigable Dr Turner, intersperses personal interviews with key cast and crew about their feelings, thoughts, and memories of filming key moments of the drama. MUST-HAVE FOR ALL FANS: From Trixie's mod outfits to the Buckle's courtship to Sister Monica Julienne's wise words, fans of Call the Midwife will revel in favourite moments, images, stories and quotes. EXCLUSIVE INTERVIEWS: Includes original interviews and reflections from the cast and crew. LAVISHLY ILLUSTRATED: With stunning photos from both behind and in front of the camera, Call the Midwife: A Labour of Love reveals rare behind-the-scenes moments and captures favourite scenes. FROM THE DESK OF DR TURNER: Author and actor Stephen McCann has played beloved Dr Patrick Turner on all ten seasons of Call the Midwife and offers an insiders' perspective and unprecedented access to the cast and creators.

Coloring Snow White, Cinderella, Pocahontas, Ariel, Tiana, and other Disney Princess characters is easy and fun with this special coloring book that contains more than 40 coloring pages. Each image was created from the Disney Dreams Collection of paintings by the Thomas Kinkade Studios, and is presented in color across the page from the exceptionally detailed black line art of the same image. This coloring book is perfect for fans of Disney Princess characters and Thomas Kinkade Studios' Disney Dreams paintings. Measures 7.25" x 9.5" closed Soft cover 96 pages Full-color art of image opposite black line art to color Uncoated paper suitable for crayons, colored pencils, and gel pens Printed on FSC-certified paper (c) Disney

A MEMOIR OF BETTY WHITE'S FIRST FIVE DECADES ON TELEVISION--AS IRREVERENT AND IRRESISTIBLE AS THE BELOVED ACTRESS HERSELF
BETTY WHITE first appeared on television in 1949 and has gone on to have one of the most amazing careers in TV history, starring in shows such as "Life with Elizabeth, The Mary Tyler Moore Show, "and "The Golden Girls, "among many others. She is one of the hardest-working actresses of any era, and her sense of humor and perennial optimism have seen her through half a century of industry changes and delighted millions of fans.
Now, during Betty's sixty-first year on screen, a year in which she has enjoyed a huge resurgence of popularity, her 1995 memoir makes a comeback too. "Here We Go Again "is a behind-the-scenes look at Betty's career from her start on radio to her first show, "Hollywood on Television, "to several iterations of "The Betty White Show "and much, much more. Packed with wonderful anecdotes about famous personalities and friendships, stories of Betty's off-screen life, and the comedienne's trademark humor, this deliciously entertaining book will give readers an entree into Betty's fascinating life, confirming yet again why we can't get enough of this funny lady.

This Play Guide is specifically written for A Level students who are studying Hedda Gabler as part of the AQA A Level Drama & Theatre specification. It provides structured support for Component 1: Section A - Drama and theatre. / This book is divided into three sections: How to explore a text for A level Drama and Theatre, with vocabulary-building sections on acting, directing and design; An extended exploration of the play to enrich students' understanding and response to the text; Targeted examination preparation to improve writing and test-taking skills. / Fully supports the written examination and helps students develop their key knowledge and understanding of key A Level drama & theatre skills. / Knowledge and understanding of the play are developed with a synopsis, character and scene studies, contextual and practical exploration. / Includes a wide range of practical drama tasks, activities, and research and revision exercises. / Advice on how to interpret and prepare for exam questions with examples of effective responses.

How do you sell British humour to a French audience? Could piracy actually be good for the film business? Why are The Hobbit's revolutionary technologies not mentioned in some adverts? Exploring these questions and many more, Film Marketing into the Twenty-First Century draws on insights from renowned film academics and leading industry professionals to chart the evolution of modern film marketing. The first part of the book focuses on geographical considerations, showing how marketers have to adapt their strategies locally as films travel across borders. The second covers new marketing possibilities offered by the Internet, as Vine, Facebook and other participative websites open new venues for big distributors and independents alike. Straddling practical and theoretical concerns and including case studies that take us from Nollywood to Peru, this book provides an accessible introduction to the key issues at stake for film marketing in a global era.

Like all game changers within the horror genre, "SAW" was an independent success, a low-budget champion that flourished without the patronage of a big studio. Not bad for the most successful horror franchise ever, which has spawned subsidiary media and masses of merchandise, including a theme park rollercoaster ride. What is it about "SAW" that attracted such a following? In his contribution to the "Devil's Advocates" series, Ben Poole considers the "SAW" phenomenon from all aspects of film and media studies -- from its generic pedigree in both literature and film, to the visceral audience pleasures ("what would I do?") of the text, to the contrasting representations of men and women and the film's implicit criticism of masculinity.

An American in Paris (1951) was a landmark film in the careers of Vincente Minnelli, Gene Kelly and Leslie Caron. A joyous celebration of George Gershwin's music, French art, the beauty of dance and the fabled City of Light, the film was heralded as a rare example of entertainment 'for mass and class alike'. Choreographed by Kelly at the height of his career, it gave new stature to the Hollywood musical, and showcased as never before the artistic ambition, technical skills, creative imagination and collaborative ethos of MGM's pioneering Arthur Freed Unit. Sue Harris draws on archival material to trace the film's development from conception to screen. Offering new insights into the design process in particular, she shows how An American in Paris established the cinematic template for a city with which Hollywood would become increasingly infatuated in the decades to follow.

Despite a glamorous lifestyle full of globetrotting adventures, travel expert and entrepreneur Anna Kloots felt lost and directionless. Now, for every woman searching for her voice, Anna shares her story of finding and believing in her own magic. By the time she reached her mid-twenties, Anna Kloots found that she had all but disappeared. Assistant to her husband, renowned magician Joshua Jay, Anna Kloots traveled to 83 countries across six continents. Alongside Josh, she tracked tigers in Jaipur, rode a bobsled in Jamaica, performed on a floating palace that perpetually sailed the world, rode in a hot-air balloon over the desert of Dubai, and planted mangroves in the Mekong Delta. When the curtain went down, Anna found herself rootless and alone--struggling in a relationship that relegated her to the back seat and left no room for her own desires and dreams. My Own Magic takes us on Anna's journey around the world and back home to her family where she ultimately finds purpose, love, joy, and the courage to follow her own path. From the cobblestoned streets of Kosovo to the forests of India, to the coral reefs of Fiji, Anna invites us behind the scenes of her extraordinary life and inspires us to be the heroes of our own adventure story. My Own Magic is a real-life coming-of-age story about a woman who learned to find herself through loss and discovered the power of travel to save the soul--no sleight of hand required.

Traditional theatre semiotics promoted a scientific approach to theatre studies, albeit viewing semiotics as the unique discipline of research. Theatre Sciences: A Plea for a Multidisciplinary Approach to Theatre Studies suggests instead a multi-disciplinary approach, including the following theoretical disciplines: narratology, mythology, pragmatics, ethics, theatre irony, theory of genres, aesthetics, semiotics, theory of nonverbal figures of speech, rhetoric, psychoanalysis, reception theory, history, and sociology with semiotics being only one among equals. These disciplines are presented from the perspective of their possible contributions to a sound methodology of theatre-texts analysis. Traditional theatre semiotics, moreover, holds the view that the actual performance on stage is the genuine text of theatre, instead of the play-script. Despite this paradigmatic shift, however, this viewpoint has failed to produce commendable analyses of such texts. The alternative presupposition put forward in this volume entails a series of novel perceptions of the theatre-text and its possible impact on the experiencing spectator, whose role in reading, interpreting and experiencing the theatre-text is not less crucial than that of the text itself. This view presupposes that the theatre-text is a description of a fictional world generated by the theatre medium. The author also contests the age-old view that a theatre/fictional-text reflects a simple narrative structure, and suggests instead a complexity that consists of seven layers: personified, mythical, praxical, naive, ironic, modal and aesthetic with each one of them re-structuring the previous layer. Prof. Rozik also presents and describes a semiotic layer that lends communicative capacity to the description of a fictional world, and two additional metaphoric and rhetoric layers, which structure the theatre experience. The underlying purpose is to illustrate the application of the aforementioned disciplines to these fictional layers, and eventually their joint application to entire theatre/fictional texts. Organization of the book reflects the structure of a university course.

This book is traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the author analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, audience and mise-en-scene. The case studies run chronologically from Awaara (The Vagabond, 1951) to The Elements Trilogy: Water (2005) and include films by such key figures as Satyajit Ray (The Lonely Wife), Ritwick Ghatak (Cloud Capped Star), Yash Chopra (The Wall) and Mira Nair (Salaam Bombay ).

Matthew Solomon's study of Chaplin's The Gold Rush (1925) provides an in-depth discussion of the film's production and reception history, placing it in the context of the turn-of-the-century Alaska Klondike gold rush, and analyses the film's narrative and formal features, particularly its references to music-hall performance styles and tropes.

The story of an all-female caving expedition gone horribly wrong, The Descent (2005) is arguably the best of the mid-2000s horror entries to return verve and intensity to the genre. Unlike its peers (Saw 2004], Hostel 2011], etc.), The Descent was both commercially and critically popular, providing a genuine version of what other films could only produce as pastiche. For Mark Kermode, writing in the Observer, it was "one of the best British horror films of recent years," and Derek Elley in Variety described it as "an object lesson in making a tightly-budgeted, no-star horror pic." Time Out's critic praised "this fiercely entertaining British horror movie;" while Rolling Stone's Peter Travers warned prospective viewers to "prepare to be scared senseless." Emphasizing female characters and camaraderie, The Descent is an ideal springboard for discussing underexplored horror themes: the genre's engagement with the lure of the archaic; the idea of birth as the foundational human trauma and its implications for horror film criticism; and the use of provisional worldviews, or "rubber realities," in horror.

"Stage Directions" covers half a lifetime and the whole range of Frayn's theatrical writing, right up to a new piece about his latest play, "Afterlife". It is also a reflection on his path into theatre: the 'doubtful beginnings' of his childhood, his subsequent scorn as a young man and, surprisingly late in life, his reluctant conversion. Whatever subjects he tackles, from the exploration of the atomic nucleus to the mechanics of farce, Michael Frayn is never less than fascinating, delightfully funny and charming. This book encapsulates a lifetime's work and is guaranteed to be a firm favourite with his legions of fans around the world.

Today a successful painter in France, in the nineteen fifties and sixties Edwin Apps was a familiar face on British television. Born into a family of auctioneers and hop farmers in East Kent in 1931, a family break up led to his being sent to the Clergy Orphan School in 1940. Evacuated to a luxury hotel on the Cornish coast, he trained falcons and learnt Latin in a cocktail bar. At seventeen, he joined a weekly rep in the north of England. The 1949 Canterbury Festival saw him making angels' wings with Dorothy Sayers and rescuing her from a bomb crater after a festive evening. Reluctant National Service, the Central School, touring in the fifties, theatrical landladies, live television comedy with Jimmy Edwards and Harry Worth; visiting Corsica with Frank Muir and writing "All Gas and Gaiters," are all part of this amusing, fast moving narrative supported by a wealth of contemporary letters and seventy photos.

Hurled words. Thrown objects. Dodged burgers. A burger was thrown at Travis Alabanza on Waterloo Bridge in 2016. From this experience they have created a poetic, passionate performance piece based around the 'burger': the texture, and taste of being trans. Their experiences include verbal abuse, ostracisation and being thrown out of a Top Shop changing room. The piece also explores the black trans experience.