First Published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

For a large proportion of the electorate, national politics misses the real issues. As a result, membership of campaigning organizations has soared whilst party numbers have declined. This work distils the principles and priorities of many of the leading voluntary groups into a strong and coherent programme of political aims and actions. The problem can be measured as a "sustainability gap" - between official policies and achievements and actual democratic participation, environmental restoration and the eradication of poverty. With examples and short case studies, the book translates the gap into practical and realistic recommendations for progress.

Eisenstein's reputation has long been secure as creator of the Soviet cinema's earliest and most enduring classics, and as a pioneer theorist and teacher. Yet the English-speaking world has not kept pace with a rising tide of Eisenstein scholarship further enriched by new publications emerging from the former Soviet Union.
"Eisenstein Rediscovered" presents the first true East-West symposium on Eisenstein with an unparalleled diversity of views and methodologies. Scholars from ten countries examine the vast legacy he bequeathed, and offer important new perspectives for reinterpreting Russian culture of the Soviet period. They explore how much Eisenstein owed to the Symbolist culture of his youth; how his involvement in theatre has been undervalued; what role he played in both the artistic and philosophical avant-gardes of the '20s; and how both Pushkin and the English Elizabethans shaped his later concept of tragedy. Including two newly discovered texts by Eisenstein which are translated for the first time, this collection makes extensive use of material only recently available. The new' Eisenstein that emerges is a far more eclectic and engaging figure than is traditionally perceived.

During much of the twentieth century, film was often assumed to be a 'flat' pictorial art, more often compared with painting and graphic media than with sculpture. In the last few decades, however, film has come to be more closely associated with sculpture, and in recent years, it has largely been through gallery installations not only that the sculptural aspect of film and video has been demonstrated, but also the extent to which filmic representation enlarges our understanding of sculptural space. This collection thus comprises the first rigorous exploration of the relationship between sculpture and film, charted over ten essays. The contributors explore some of the ways in which cinema reshaped the landscape of art and specifically sculpture and sculptural practice during the twentieth century. They also examine how film has functioned as a 'sculptural' medium at crucial moments in various stages of its evolution. In this way, it is a book about both sculpture and film, and sculpture as film.

The multiple award-winning Doctor Zhivago (1965) is one of America's finest films of all time. Ian Christie contextualizes the film as an epic Russian love story and a Cold War classic, charts its production and reception, including the contribution of designer John Box, and discusses the unique history of the Bruce Pasternak novel it is based on.

Produced in the aftermath of the Second World War, Michael Powell and Emeric Pressburger's A Matter of Life and Death (1946) stars David Niven as an RAF pilot poised between life and death, his love for the American radio operator June (Kim Hunter) threatened by medical, political and ultimately celestial forces. The film is a magical, profound fantasy and a moving evocation of English history and the wartime experience, with virtuoso Technicolor special effects. In the United States it was released under the title Stairway to Heaven, referencing one of its most famous images, a moving stairway between earth and the afterlife. Ian Christie's study of the film shows how its creators drew upon many sources and traditions to create a unique form of modern masque, treating contemporary issues with witty allegory and enormous visual imagination. He stresses the teamwork of Powell and Pressburger's gifted collaborators, among them Director of Photography Jack Cardiff, production designer Alfred Junge, and costume designer Hein Heckroth, and explores the history of both British and international responses to the film. Christie argues that the film deserves to be thought of as one of the greatest achievements of British cinema, but of all cinema.

This book is an essential introduction to the complex issues and debates in the field of law and film. It explores interconnections that are usually ignored between law and film through three main themes: A Fantastic Jurisprudence explores representations of law in law Law, Aesthetics and Visual Technologies focuses on the visual aspects of law's moving image Regulation: Histories, Cultures, Practices brings together work on different dimensions and contexts of regulation, censorship, state subsidies and intellectual property to explore the complex inter-relationship between the state, industry and private regulation. Law's Moving Image is an innovative, multi-disciplinary contribution to the rapidly growing fields of study in law and film, law and visual culture, law and culture, criminology, social and cultural studies. It will be of interest to students and academics involved in these areas.

In Eisenstein Rediscovered Ian Christie and Richard Taylor present the first true East-West symposium on Eisenstein with an unparalleled diversity of views and methodologies. Two newly discovered texts by Eisenstein are here translated fro the first time, and all the contributors make extensive use of material only recently available - variant scripts, drawings, diaries and other writings - to probe behind the familiar facade. The `new' Eisenstein that emerges is in all respects a more engaging and contemporary figure than is traditionally perceived, his wit, eroticism and exlectic passions defining a distinctively modern sensibility whose rediscovey is long overdue.

The late Jan Fairley (1949-2012) was a key figure in making world music a significant topic for popular music studies and an influential contributor to such world music magazines as fRoots and Songlines. This book celebrates her contribution to popular music scholarship by gathering her most important work together in a single place. The result is a richly informed and entertaining volume that will be of interest to all scholars in the field while also serving as an excellent introduction for students interested in popular music as a global phenomenon. Fairley's work was focused on the problems and possibilities of cross-cultural musical influences, fantasies and flows and on the importance of performing circuits and networks. Her interest in the details of music-making and in the lives of music-makers means that this collection is also an original and illuminating study of music and politics. In drawing on Jan Fairley's journalism, this volume also offers students a guide to various genres of world music, from Cuban son to flamenco, as well as an insight into the lives of such world music stars as Mercedes Sosa and Silvio RodrA guez. This is inspiring as well as essential reading.

The films of Michael Powell (1905-90) and Emeric Pressburger (1902-88), among them I Know Where I'm Going! (1945), A Matter of Life and Death (1947) and The Red Shoes (1948), are landmarks in British cinema, standing apart from the realist and comic mainstream with their highly stylised aesthetic and their themes of romantic longing and spiritual crisis. Powell and Pressburger are revered by film lovers and film-makers (Martin Scorsese has called them 'the most successful experimental film-makers in the world'). In this first-ever collection of essays on Powell, an international group of critics and scholars map out his film-making skills, providing new readings of individual films, analysing recurrent techniques and themes, and relating them to contemporary debates about gender, sexuality, nationality and cinematic spectacle. Powell, with and without Pressburger, emerges as a film-maker of lasting originality and significance.

This book is an essential introduction to the complex issues and debates in the field of law and film. It explores interconnections that are usually ignored between law and film through three main themes:

• A Fantastic Jurisprudence explores representations of law in law
• Law, Aesthetics and Visual Technologies focuses on the visual aspects of law's moving image
• Regulation: Histories, Cultures, Practices brings together work on different dimensions and contexts of regulation, censorship, state subsidies and intellectual property to explore the complex inter-relationship between the state, industry and private regulation.

Law's Moving Image is an innovative, multi-disciplinary contribution to the rapidly growing fields of study in law and film, law and visual culture, law and culture, criminology, social and cultural studies. It will be of interest to students and academics involved in these areas.

Remnants of early films often have a story to tell. As material artifacts, these film fragments are central to cinema history, perhaps more than ever in our digital age of easy copying and sharing. If a digital copy is previewed before preservation or is shared with a researcher outside the purview of a film archive, knowledge about how the artifact was collected, circulated, and repurposed threatens to become obscured. When the question of origin is overlooked, the story can be lost. Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, "How did these moving images get here for me to see them?" This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives.

For a large proportion of the electorate, national politics misses the real issues. As a result, membership of campaigning organizations has soared whilst party numbers have declined. This work distils the principles and priorities of many of the leading voluntary groups into a strong and coherent programme of political aims and actions. The problem can be measured as a sustainability gap - between official policies and achievements and actual democratic participation, environmental restoration and the eradication of poverty. With examples and short case studies, the book translates the gap into practical and realistic recommendations for progress.

The late Jan Fairley (1949-2012) was a key figure in making world music a significant topic for popular music studies and an influential contributor to such world music magazines as fRoots and Songlines. This book celebrates her contribution to popular music scholarship by gathering her most important work together in a single place. The result is a richly informed and entertaining volume that will be of interest to all scholars in the field while also serving as an excellent introduction for students interested in popular music as a global phenomenon. Fairley's work was focused on the problems and possibilities of cross-cultural musical influences, fantasies and flows and on the importance of performing circuits and networks. Her interest in the details of music-making and in the lives of music-makers means that this collection is also an original and illuminating study of music and politics. In drawing on Jan Fairley's journalism, this volume also offers students a guide to various genres of world music, from Cuban son to flamenco, as well as an insight into the lives of such world music stars as Mercedes Sosa and Silvio RodrA guez. This is inspiring as well as essential reading.

eBook available with sample pages: HB:0415049512

This is the first collection to be inspired and informed by the new films and archival material that glasnost and perestroika have revealed, and the new methodological approaches that are developing in tandem. Film critics and historians from Britain, America, France and the USSR attempt the vital task of scrutinising Soviet film, and re-examining the Cold War assumptions of traditional historiography. Whereas most books on Soviet giants have glorified the directorial giants of the "golden age" of the 1920s, "Inside the Film Factory" also recognises the achievements of popular cinema from the pre-revolutionary period through to the 1930s and beyond. It also evaluates the impact of Western cinema on the early experimenters of montage, Russian science fiction's influence on film-making, and the long-suppressed history of Soviet Yiddish productions. Alongside the new perspectives and source material on the much-mythologised figures of Kuleshov and Medvedkin, the book provides extended accounts in English of the important but neglected careers of directors Yakov Protazanov and Boris Barnet. This book should be of interest to students and teachers of film studies and Soviet studies.

In a world where environmental problems spill across political, administrative and disciplinary boundaries, there is a pressing need for a clear understanding of the kinds of organizations, management structures and policy-making approaches required to bring about socially equitable and ecologically sustainable development. In this second edition, the authors incorporate lessons from a decade of work on the conditions of sustainability in both developed and developing countries. They prescribe action networks - partnerships of flexible, achievement-oriented actors - and present new case studies demonstrating the success of organizations that have applied this approach. They also introduce case studies on action networks that work simultaneously on international, national and local levels.

The early years of film were dominated by competition between inventors in America and France, especially Thomas Edison and the Lumiere brothers . But while these have generally been considered the foremost pioneers of film, they were not the only crucial figures in its inception. Telling the story of the white-hot years of filmmaking in the 1890s, Robert Paul and the Origins of British Cinema seeks to restore Robert Paul, Britain's most important early innovator in film, to his rightful place. From improving upon Edison's Kinetoscope to cocreating the first movie camera in Britain to building England's first film studio and launching the country's motion-picture industry, Paul played a key part in the history of cinema worldwide. It's not only Paul's story, however, that historian Ian Christie tells here. Robert Paul and the Origins of British Cinema also details the race among inventors to develop lucrative technologies and the jumbled culture of patent-snatching, showmanship, and music halls that prevailed in the last decade of the nineteenth century. Both an in-depth biography and a magnificent look at early cinema and fin-de-siecle Britain, Robert Paul and the Origins of British Cinema is a first-rate cultural history of a fascinating era of global invention, and the revelation of one of its undervalued contributors.

The early years of film were dominated by competition between inventors in America and France, especially Thomas Edison and the Lumiere brothers . But while these have generally been considered the foremost pioneers of film, they were not the only crucial figures in its inception. Telling the story of the white-hot years of filmmaking in the 1890s, Robert Paul and the Origins of British Cinema seeks to restore Robert Paul, Britain's most important early innovator in film, to his rightful place. From improving upon Edison's Kinetoscope to cocreating the first movie camera in Britain to building England's first film studio and launching the country's motion-picture industry, Paul played a key part in the history of cinema worldwide. It's not only Paul's story, however, that historian Ian Christie tells here. Robert Paul and the Origins of British Cinema also details the race among inventors to develop lucrative technologies and the jumbled culture of patent-snatching, showmanship, and music halls that prevailed in the last decade of the nineteenth century. Both an in-depth biography and a magnificent look at early cinema and fin-de-siecle Britain, Robert Paul and the Origins of British Cinema is a first-rate cultural history of a fascinating era of global invention, and the revelation of one of its undervalued contributors.

Over the decades since he was first hailed by critics and filmmakers around the world, Sergei Eisenstein has assumed many identities. Originally cast as a prophet of revolution and the maestro of montage, and later seen as both a victim of and apologist for Stalin's tyranny, the scale and impact of Eisenstein's legacy has continued to grow. If early research on Eisenstein focused on his directorial work - from the legendary Battleship Potemkin and October to the still-controversial Ivan the Terrible - with time scholars have discovered many other aspects of his multifarious output. In recent years, multimedia exhibitions, access to his vast archive of drawings, and publication of his previously censored theoretical writings have cast Eisenstein in a new light. Deeply engaged with some of the leading thinkers and artists of his own time, Eisenstein remains a focus for many of their successors, contested as well as revered. Over half a century since his death in 1948, an ambitious treatise that he hoped would be his major legacy, Method, has finally been published. Eisenstein's lifelong search for an underlying unity that would link archaic art with film's modernity, individuals with their historic communities, and humans as a species with the universe, may have more appeal than ever today. And among his many thwarted film projects, those set in Mexico and what were once the Soviet Central Asian republics reveal complex and still-intriguing realms of speculation. In this ground-breaking collection, sixteen international scholars explore Eisenstein's prescient engagement with aesthetics, anthropology and psychology, his roots in diverse philosophical traditions, and his gender politics. What emerges has surprising relevance to contemporary media archaeology, intermediality, cognitive science, eco-criticism and queer studies, as well as confirming Eisenstein's prestige within present-day film and audiovisual media.

During much of the twentieth century, film was often assumed to be a 'flat' pictorial art, more often compared with painting and graphic media than with sculpture. In the last few decades, however, film has come to be more closely associated with sculpture, and in recent years, it has largely been through gallery installations not only that the sculptural aspect of film and video has been demonstrated, but also the extent to which filmic representation enlarges our understanding of sculptural space. This collection thus comprises the first rigorous exploration of the relationship between sculpture and film, charted over ten essays. The contributors explore some of the ways in which cinema reshaped the landscape of art and specifically sculpture and sculptural practice during the twentieth century. They also examine how film has functioned as a 'sculptural' medium at crucial moments in various stages of its evolution. In this way, it is a book about both sculpture and film, and sculpture as film.

Michael Powell and Emeric Pressburger formed one of the greatest creative partnerships in the history of British cinema - The Archers. Their films were often controversial - Churchill tried to suppress the release of "The Life and Death of Colonel Blimp". Later, "The Red Shoes" and "The Tales of Hoffman" startled and enchanted cinema audiences with their use of colour, form amd music. However, in the last ten years the magic, poetry and passion of their work has been acknowledged around the world and they are firmly in the pantheon of film masters. This book is a comprehensive analysis of their films and is a useful guide to their work.

Terry Gilliam is a famously candid commentator on his own work, and in these specially recorded interviews, he reflects on how his Midwestern childhood and early career as an animator—including his work as the only American member of Monty Python—prepared him to undertake his extraordinary adventures in cinema.

His films are distinctively dark, fantastic, and strangely hilarious. From the medieval mock-epic Monty Python and the Holy Grail to the mythic yet paranoid worlds of The Fisher King, Twelve Monkeys, and Fear and Loathing in Las Vegas, Gilliam has pursued a totally personal and uncompromising vision. As detailed herein, this vision has led to legendary battles with studios and financiers, notably over The Adventures of Baron Munchausen and Brazil, the latter of which is now considered a classic.

The book includes Gilliam's storyboards for the films—a unique glimpse at his creative process—along with his original cartoons and black-and-white photographs throughout.

We live in an era of screens. No longer just the place where we view movies, or watch TV at night, screens are now ubiquitous, the source of the majority of information we consume daily, and a crucial component of our basic interactions with colleagues, friends, and family. This transformation has happened almost without us realizing it-and certainly without the full theoretical and intellectual analysis it deserves. Screens brings together scholars from a variety of disciplines to analyse the growing presence and place of screens in our lives today. They tackle such topics as the archaeology of screens, film and media theories about our interactions with them, their use in contemporary art, and the new avenues they open up for showing films and other media in non-traditional venues.

`This superbly illustrated, readable and authoritative work is a major step in the revision of Soviet film history and will be an indispensible staring point for anyone seeking to understand that history.' - TLS