This book argues for a durational cinema that is distinct from slow cinema, and outlines the history of its three main waves: the New York avant-garde of the 1960s, the European art cinema in the years after 1968, and the international cinema of gallery spaces as well as film festivals since the 1990s. Figures studied include Andy Warhol, Ken Jacobs, Chantal Akerman, Marguerite Duras, Claude Lanzmann, James Benning, Kevin Jerome Everson, Lav Diaz, and Wang Bing.Durational cinema is predominantly minimal, but has from the beginning also included a more encompassing or encyclopedic kind of filmmaking. Durational cinema is characteristically representational, and converges on certain topics (the Holocaust, deindustrialization, the experience of the working class and other marginalized people), but has no one meaning, signifying differently at different moments and in different hands. Warhol's durational cinema of subtraction is quite different from Jacobs's durational cinema of social disgust, while Lav Diaz' durational sublime is quite different from Kevin Jerome Everson's unblinking studies of African-American working people.

LONDON, 1942. A killer going by the name of 'Crimson Jack' is stalking the wartime streets of London, murdering women on the exact dates of the infamous Jack the Ripper killings of 1888. Has the Ripper somehow returned from the grave? Is the self-styled Crimson Jack a descendant of the original Jack or merely a madman obsessed with those notorious killings? In desperation Scotland Yard turn to Sherlock Holmes, the world's greatest detective. Surely he is the one man who can sift fact from legend and track down Crimson Jack before he completes his tally of death. As Holmes and the faithful Watson tread the blacked out streets of London, death waits just around the corner. Inspired by the classic film series from Universal Pictures starring Basil Rathbone and Nigel Bruce, which updated Sherlock Holmes to the 1940s, this is a brand new adventure from the acclaimed author of The Thirty-One Kings, Castle Macnab and the Artie Conan Doyle Mysteries.

"The definitive guide for scholars and fans alike to all things Masterpiece and Mystery!" Library Journal, Starred Review On a wintry night in 1971, Masterpiece Theatre debuted on PBS. Fifty years later, America's appetite for British drama has never been bigger. The classic television program has brought its fans protagonists such as The Dowager Countess and Ross Poldark and series that include Downton Abbey and Prime Suspect. In Masterpiece: America's 50-Year-Old Love Affair with British Television Drama, Nancy West provides a fascinating history of the acclaimed program. West combines excerpts from original interviews, thoughtful commentary, and lush photography to deliver a deep exploration of the television drama. Vibrant stories and anecdotes about Masterpiece's most colorful shows are peppered throughout, such as why Benedict Cumberbatch hates Downton Abbey and how screenwriter Daisy Goodwin created a teenage portrait of Queen Victoria after fighting with her daughter about homework. Featuring an array of photos from Masterpiece's best-loved dramas, this book offers a penetrating look into the program's influence on television, publishing, fashion, and its millions of fans.

In Ramón Griffero’s seminal work, The Dramaturgy of Space, the playwright and director describes his aesthetic philosophy and theoretical approach to theatrical creation, illustrating his theory through practical application in a series of exercises. As well as touching upon some of Griffero’s own work, like Cinema utopia (1985), Tus deseos en fragmentos (2003), Fin del eclipse (2007) and El azar de la fiesta (1992), this book also reinforces the practicality of Griffero’s concepts through a series of online videos, breaking down each exercise and allowing readers to engage with the effects of his celebrated approach. Published here in English for the first time, in a translation by the leading expert on Griffero, The Dramaturgy of Space reveals the internationally renowned Chilean artist’s thought process, and how his practice has influenced the theatrical, political, and social context, from the Pinochet dictatorship to the present day.

This officially licensed, finely detailed light-up collectible replica of the crystal ball from Hogwarts School of Witchcraft and Wizardry's divination class is a perfect gift for fans of the Wizarding World. * SPECIFICATIONS: Mini crystal ball set on an intricately designed elephant base; ball and base are approximately 3 inches tall * LIGHTS UP: Ball illuminates when light switch is turned on * BOOK INCLUDED: Set includes mini book of quotes and behind-the-scenes information from the Harry Potter films, featuring full-color photography throughout * PERFECT GIFT: A unique gift for fans of the wizarding world * OFFICIALLY LICENSED: Authentic collectible

This book uses popular films to understand the convergence of crime control and the ideology of repression in contemporary capitalism. It focuses on the cinematic figure of the fallen guardian, a protagonist who, in the course of a narrative, falls from grace and becomes an enemy of the established social order. The fallen guardian is a figure that allows for the analysis of a particular crime control measure through the perspective of both an enforcer and a target. The very notion of 'justice' is challenged, and questions are posed in relation to the role that films assume in the reproduction of policing as it is. In doing so, the book combines a historical far-reaching perspective with popular culture analysis. At the core remains the value of the cinematic figure of the fallen guardian for contemporary understandings of urban space and urban crime control and how films are clear examples of the ways in which the ideology of repression is reproduced. This book questions the justifications that are often given for social control in cities and understands cinema as a medium for offering critique of such processes and justifications. Explored are the crime control measures of private policing in relation to RoboCop (1987), preventative policing and Minority Report (2002), mass incarceration in The Dark Knight Rises (2012), and extra-judicial killing in Blade Runner 2049 (2017). The book speaks to those interested in crime control in critical criminology, cultural criminology, urban studies, and beyond.

Critically analyzes the discursive relationship between cultural value and popular feminism in American television. While American television has long relied on a strategic foregrounding of feminist politics to promote certain programming's cultural value, Woman Up: Invoking Feminism in Quality Television is the first sustained critical analysis of the twenty-first-century resurgence of this tradition. In Woman Up, Julia Havas's central argument is that postmillennial "feminist quality television" springs from a rhetorical subversion of the (much-debated) masculine-coded "quality television"culture on the one hand and the dominance of postfeminist popular culture on the other. Postmillennial quality television culture promotes the idea of aesthetic-generic hierarchies among different types of scripted programming. Its development has facilitated evaluative academic analyses of television texts based on aesthetic merit, producing a corpus of scholarship devoted to pinpointing where value resides in shows considered worthy of discussion. Other strands of television scholarship have criticized this approach for sidestepping the gendered and classed processes of canonization informing the phenomenon. Woman Up intervenes in this debate by reevaluating such approaches and insisting that rather than further fostering or critiquing already prominent processes of canonization, there is a need to interrogate the cultural forces underlying them. Via detailed analyses of four TV programs emerging in the early period of the "feminist quality TV" trend-30 Rock (2006-13), Parks and Recreation (2009-15), The Good Wife (2009-16), and Orange Is the New Black (2013-19)-Woman Up demonstrates that such series mediate their cultural significance by combining formal aesthetic exceptionalism and a politicized rhetoric around a "problematic" postfeminism, thus linking ideals of political and aesthetic value. Woman Up will most appeal to students and scholars of cinema and media studies, feminist media studies, television studies, and cultural studies.

They don't make comedy like they used to . . . From the slapstick comedy of Charlie Chaplin and Stan Laurel, the surrealism of Spike Milligan and Monty Python, and the golden age of political incorrectness helmed by Benny Hill, to the alternative scene that burst forth following the punk movement, the hedonistic joy of Absolutely Fabulous, the lacerating scorn of Jimmy Carr, Ricky Gervais, and Jo Brand and the meteoric rise of socially conscious stand up today: comedy can be many things, and it is a cultural phenomenon has come to define Britain like few others. In Different Times, David Stubbs charts the superstars that were in on the gags, the unsung heroes hiding in the wings and the people who ended up being the butt of the joke. Comedians and their work speak to and of their time, drawing upon and moulding Britons' relationship with their national history, reflecting us as a people, and, simply, providing raucous laughs for millions of people around the world. Different Times is a joyous, witty and insightful paean to British comedy.