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Though intimacy has been a wide concern in the humanities, it has
received little critical attention in film studies. I Feel
Different Inside: Essays on Intimacy in English-Speaking Cinema
thus proposes to investigate both the potential intimacy of cinema
as a medium and the possibility of a cinema of intimacy where it is
least expected. As a notion that relies on binaries such as inside
and outside, surface and depth, public and private, and self and
other, intimacy, because it implies sharing, is especially apt to
call into question the borders between these binaries, and,
accordingly, the border which separates mainstream cinema and
independent, underground or auteur cinema. Following on Thomas
Elsaesser's theoretical interrogation of the relationship between
the intimacy of cinema and the cinema of intimacy, the essays,
organized mainly according to chronology, explore intimacy in
silent and classical Hollywood cinema, underground, documentary and
animation films, and finally contemporary Hollywood, British,
Canadian and Australian cinema, from a variety of approaches that
are grounded in neo-formalism and narratology, phenomenology,
psychoanalysis and cognitive psychology, cultural, gender,
reception and film genre studies.
While Western films can be seen as a mode of American
exceptionalism, they have also become a global genre. Around the
world, Westerns exemplify colonial cinema, driven by the
exploration of racial and gender hierarchies and the progress and
violence shaped by imperialism. Transnationalism and Imperialism:
Endurance of the Global Western Film traces the Western from the
silent era to present day as the genre has circulated the world.
Contributors examine the reception and production of American
Westerns outside the US alongside the transnational aspects of
American productions, and they consider the work of minority
directors who use the genre to interrogate a visual history of
oppression. By viewing Western films through a transnational lens
and focusing on the reinterpretations, appropriations, and parallel
developments of the genre outside the US, editors Herve Mayer and
David Roche contribute to a growing body of literature that debunks
the pervasive correlation between the genre and American identity.
Perfect for media studies and political science, Transnationalism
and Imperialism reveals that Western films are more than cowboys;
they are a critical intersection where issues of power and
coloniality are negotiated.
While Western films can be seen as a mode of American
exceptionalism, they have also become a global genre. Around the
world, Westerns exemplify colonial cinema, driven by the
exploration of racial and gender hierarchies and the progress and
violence shaped by imperialism. Transnationalism and Imperialism:
Endurance of the Global Western Film traces the Western from the
silent era to present day as the genre has circulated the world.
Contributors examine the reception and production of American
Westerns outside the US alongside the transnational aspects of
American productions, and they consider the work of minority
directors who use the genre to interrogate a visual history of
oppression. By viewing Western films through a transnational lens
and focusing on the reinterpretations, appropriations, and parallel
developments of the genre outside the US, editors Hervé Mayer and
David Roche contribute to a growing body of literature that debunks
the pervasive correlation between the genre and American identity.
Perfect for media studies and political science, Transnationalism
and Imperialism reveals that Western films are more than cowboys;
they are a critical intersection where issues of power and
coloniality are negotiated.
It's normal for a daily run to become somewhat of a chore. Finding
out how to get out of the rut can be a challenge. Luckily, The
Happy Runner has the answers for you. Authors David and Megan Roche
believe you can't reach your running potential without consistency
and joyful daily adventures. These can lead to long-term health and
happiness. Guided by their personal experiences and coaching
expertise, they help you learn exactly how to become a happier
runner and achieve your personal best. The text uses proven
coaching methods to teach you how to run faster, run longer and
stay healthy. There are also real stories from successful athletes
who have had personal breakthroughs as they learn to love the
process of running. You will also learn how to adapt your running
based on personal lifestyle and goals. As well as how to avoid
setbacks from injury. Whether you're battling burnout, returning
after injury or simply just new to running and want to enjoy it,
the science-based guidance in The Happy Runner helps you get
faster, go longer and live stronger.
"That's so meta!" The emergence of the prefix-turned-adjective
"meta" to describe media productions is, no doubt, symptomatic of
an increasingly media-savvy audience; it has also drawn attention
to the lack of scholarship on meta-phenomena in film and television
studies. Meta in Film and Television Series aims to make up for
this. Meta is defined as an intense form of reflexivity, that is
characterized by its aboutness; meta-phenomena are not just an
arsenal of devices but suppose an interpretive act and an active
audience. Meta creates a framework with which to interrogate a
work's relationship to its production, reception, medium, forms,
and the world, and to explore its potentials and limitations. Meta
supports the intuition latent in the popular usage that
meta-phenomena are deeply entangled, while demonstrating that
analysis stills requires such concepts to make sense of them.
Women Who Kill explores several lines of inquiry: the female
murderer as a figure that destabilizes order; the tension between
criminal and victim; the relationship between crime and expression
(or the lack thereof); and the paradox whereby a crime can be both
an act of destruction and a creative assertion of agency. In doing
so, the contributors assess the influence of feminist, queer and
gender studies on mainstream television and cinema, notably in the
genres (film noir, horror, melodrama) that have received the most
critical attention from this perspective. They also analyse the
politics of representation by considering these works of fiction in
their contexts and addressing some of the ambiguities raised by
postfeminism. The book is structured in three parts: Neo-femmes
Fatales; Action Babes and Monstrous Women. Films and series
examined include White Men Are Cracking Up (1994); Hit & Miss
(2012); Gone Girl (2014); Terminator (1984); The Walking Dead (2010
); Mad Max: Fury Road (2015); Contagion (2011) and Ex Machina
(2015) among others.
This book is about what Mark Carney has called 'the social licence
for financial markets' and how it can point us towards a more
sustainable future. Author David Rouch argues that what it reveals
contrasts sharply with the usual portrayals of markets as places of
unrestrained financial self-interest. Drawing attention to a more
complex reality and the presence of justice-focused aspirations in
finance can positively impact individual, institutional, and
systemic behaviour: change, not imposed by regulators, but emerging
from the very substance of market relationships. The finance sector
should have a key role in addressing humanity's increasingly
pressing sustainability challenges. Yet the relationship between
finance and society has not recovered from the 2008 crisis and the
scandals and austerity that followed. The Covid-19 pandemic and its
economic fallout is sharpening some of the issues and creating new
ones. Recognising that financial markets operate subject to a
social licence has the potential to galvanise market participants
in tackling these challenges, strengthening social solidarity on
which markets also depend, and to provide coordinates for
navigating a way through the post-pandemic social, political and
economic landscape.
If Russell Banks (b. 1940) says he doesn't ""think about [his]
reader at all when [he's] writing,"" he clearly enjoys talking with
his actual readers, whether they be students, writers, or
academics, delighting in the diversity of his audience and in the
""greater democratization of commentary"" provided by alternative
media. These conversations span a period of over thirty years, from
1976 with the publication of his first novel, Family Life, and his
first collection of short stories, to 2008 with The Reserve. Most
date from the late 1990s on, when the publication of
Pulitzer-finalist Cloudsplitter in conjunction with the
back-to-back release of film adaptations of his novels The Sweet
Hereafter and Affliction suddenly put Banks in the spotlight as
""Hollywood's Hottest New Property."" Banks has always believed
that the writer plays ""the role of the storyteller,"" fulfilling
very basic and universal human needs: ""to talk about the human
condition, to tell us something about ourselves."" Yet, for him,
writing is not a one-way process. It is an exchange where the key
is to tune in and listen-to the voices of the characters engaging
the writer's imagination and to the voices of the readers sharing
their own experiences of his books and of the world.
Women Who Kill explores several lines of inquiry: the female
murderer as a figure that destabilizes order; the tension between
criminal and victim; the relationship between crime and expression
(or the lack thereof); and the paradox whereby a crime can be both
an act of destruction and a creative assertion of agency. In doing
so, the contributors assess the influence of feminist, queer and
gender studies on mainstream television and cinema, notably in the
genres (film noir, horror, melodrama) that have received the most
critical attention from this perspective. They also analyse the
politics of representation by considering these works of fiction in
their contexts and addressing some of the ambiguities raised by
postfeminism. The book is structured in three parts: Neo-femmes
Fatales; Action Babes and Monstrous Women. Films and series
examined include White Men Are Cracking Up (1994); Hit & Miss
(2012); Gone Girl (2014); Terminator (1984); The Walking Dead (2010
); Mad Max: Fury Road (2015); Contagion (2011) and Ex Machina
(2015) among others.
Quentin Tarantino's films beg to be considered metafiction:
metacommentaries that engage with the history of cultural
representations and exalt the aesthetic, ethical, and political
potential of creation as re-re-creation and resignification.
Covering all eight of Quentin Tarantino's films according to
certain themes, David Roche combines cultural studies and
neoformalist approaches to highlight how closely the films' poetics
and politics are intertwined. Each in-depth chapter focuses on a
salient feature, some which have drawn much attention (history,
race, gender, violence), others less so (narrative structure,
style, music, theatricality). Roche sets Tarantino's films firmly
in the legacy of Howard Hawks, Jean-Luc Godard, Sergio Leone, and
the New Hollywood, revising the image of a cool pop-culture
purveyor that the American director cultivated at the beginning of
his career. Roche emphasizes the breadth and depth of his films'
engagement with culture, highbrow and lowbrow, screen and print,
American, East Asian, and European.
Quentin Tarantino's films beg to be considered metafiction:
metacommentaries that engage with the history of cultural
representations and exalt the aesthetic, ethical, and political
potential of creation as re-re-creation and resignification.
Covering all eight of Quentin Tarantino's films according to
certain themes, David Roche combines cultural studies and
neoformalist approaches to highlight how closely the films' poetics
and politics are intertwined. Each in-depth chapter focuses on a
salient feature, some which have drawn much attention (history,
race, gender, violence), others less so (narrative structure,
style, music, theatricality). Roche sets Tarantino's films firmly
in the legacy of Howard Hawks, Jean-Luc Godard, Sergio Leone, and
the New Hollywood, revising the image of a cool pop-culture
purveyor that the American director cultivated at the beginning of
his career. Roche emphasizes the breadth and depth of his films'
engagement with culture, highbrow and lowbrow, screen and print,
American, East Asian, and European.
The Church of 80% Sincerity shares the inspiring, poignant,
wickedly funny, and sometimes heartbreaking story of motivational
speaker David Roche's journey from shame to self-acceptance. Born
with a severe facial deformity, David has had a life that's been
anything but easy. Still, over time he's learned to accept his
gifts as well as his flaws, and to see that, sometimes, they are
one and the same. In this compelling book, he shares his
hard-earned lessons, providing an irresistible and unforgettable
glimpse of his (and everyone's) inner beauty and worth, and offers
profound encouragement in dealing with whatever life brings.
Democracy caused the debt crisis. Will it survive it? The question
is whether new global leaders will stimulate the democratic model
If Russell Banks (b. 1940) says he doesn't "think about his]
reader at all when he's] writing," he clearly enjoys talking with
his actual readers, whether they be students, writers or academics,
delighting in the diversity of his audience and in the "greater
democratization of commentary" provided by alternative media.
These conversations span a period of over thirty years, from
1976 with the publication of his first novel, "Family Life," and
his first collection of short stories, to 2008 with "The Reserve."
Most date from the late 1990s on, when the publication of
Pulitzer-finalist "Cloudsplitter" in conjunction with the
back-to-back release of film adaptations of his novels "The Sweet
Hereafter" and "Affliction" suddenly put Banks in the spotlight as
"Hollywood's Hottest New Property."
Banks has always believed that the writer plays "the role of the
storyteller," fulfilling very basic and universal human needs: "to
talk about the human condition, to tell us something about
ourselves." Yet, for him, writing is not a one-way process. It is
an exchange where the key is to tune in and listen--to the voices
of the characters engaging the writer's imagination and to the
voices of the readers sharing their own experiences of his books
and of the world.
We've had the credit crunch and afterwards a deep economic
recession. Now get ready for a sovereign debt crisis after the
biggest rise in government debt globally since world war two.
How new forms of financial liquidity are creating unsustainable
asset price bubbles that eventually could burst with dire
consequences for investors in stocks and bonds around the world.
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Comics and Adaptation (Hardcover)
Benoit Mitaine, David Roche, Isabelle Schmitt-Pitiot; Translated by Aarnoud Rommens
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R3,127
Discovery Miles 31 270
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Ships in 12 - 17 working days
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Contributions by Jan Baetens, Alain Boillat, Philippe Bourdier,
Laura Caraballo, Thomas Faye, Pierre Floquet, Jean-Paul Gabilliet,
Christophe Gelly, Nicolas Labarre, Benoit Mitaine, David Roche,
Isabelle Schmitt-Pitiot, Dick Tomasovic, and Shannon Wells-Lassagne
Both comics studies and adaptation studies have grown separately
over the past twenty years. Yet there are few in-depth studies of
comic books and adaptations together. Available for the first time
in English, this collection pores over the phenomenon of comic
books and adaptation, sifting through comics as both sources and
results of adaptation. Essays shed light on the many ways
adaptation studies inform research on comic books and content
adapted from them. Contributors concentrate on fidelity to the
source materials, comparative analysis, forms of media, adaptation
and myth, adaptation and intertextuality, as well as adaptation and
ideology. After an introduction that assesses adaptation studies as
a framework, the book examines comics adaptations of literary texts
as more than just illustrations of their sources. Essayists then
focus on adaptations of comics, often from a transmedia
perspective. Case studies analyze both famous and lesser-known
American, Belgian, French, Italian, and Spanish comics. Essays
investigate specific works, such as Robert Louis Stevenson's The
Strange Case of Dr. Jekyll and Mr. Hyde, the Castilian epic poem
Poema de Mio Cid, Ray Bradbury's Martian Chronicles, French comics
artist Jacques Tardi's adaptation 120, rue de la Gare, and Frank
Miller's Sin City. In addition to Marvel Comics's blockbusters,
topics include various uses of adaptation, comic book adaptations
of literary texts, narrative deconstruction of performance and
comic book art, and many more.
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Comics and Adaptation (Paperback)
BenoA (R)t Mitaine, David Roche, Isabelle Schmitt-Pitiot; Aarnoud Rommens
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R1,145
Discovery Miles 11 450
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Ships in 10 - 15 working days
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Contributions by Jan Baetens, Alain Boillat, Philippe Bourdier,
Laura Cecilia Caraballo, Thomas Faye, Pierre Floquet, Jean-Paul
Gabilliet, Christophe Gelly, Nicolas Labarre, Benoit Mitaine, David
Roche, Isabelle Schmitt-Pitiot, Dick Tomasovic, and Shannon
Wells-LassagneBoth comics studies and adaptation studies have grown
separately over the past twenty years. Yet there are few in-depth
studies of comic books and adaptations together. Available for the
first time in English, this collection pores over the phenomenon of
comic books and adaptation, sifting through comics as both sources
and results of adaptation. Essays shed light on the many ways
adaptation studies inform research on comic books and content
adapted from them. Contributors concentrate on fidelity to the
source materials, comparative analysis, forms of media, adaptation
and myth, adaptation and intertextuality, as well as adaptation and
ideology. After an introduction that assesses adaptation studies as
a framework, the book examines comics adaptations of literary texts
as more than just illustrations of their sources. Essayists then
focus on adaptations of comics, often from a transmedia
perspective. Case studies analyze both famous and lesser-known
American, Belgian, French, Italian, and Spanish comics. Essays
investigate specific works, such as Robert Louis Stevenson's The
Strange Case of Dr. Jekyll and Mr. Hyde, the Castilian epic poem
Poema de Mio Cid, Ray Bradbury's Martian Chronicles, French comics
artist Jacques Tardi's adaptation 120, rue de la Gare, and Frank
Miller's Sin City. In addition to Marvel Comics' blockbusters,
topics include various uses of adaptation, comic book adaptations
of literary texts, narrative deconstruction of performance and
comic book art, and many more.
In Making and Remaking Horror in the 1970s and 2000s author David
Roche takes up the assumption shared by many fans and scholars that
original horror movies are more ""disturbing,"" and thus better
than the remakes. He assesses the qualities of movies, old and
recast, according to criteria that include subtext, originality,
and cohesion. With a methodology that combines a formalist and
cultural studies approach, Roche sifts aspects of the American
horror movie that have been widely addressed (class, the
patriarchal family, gender, and the opposition between terror and
horror) and those that have been somewhat neglected (race, the
Gothic, style, and verisimilitude). Containing seventy-eight black
and white illustrations, the book is grounded in a close
comparative analysis of the politics and aesthetics of four of the
most significant independent American horror movies of the
1970s--The Texas Chain Saw Massacre, The Hills Have Eyes, Dawn of
the Dead, and Halloween--and their twenty-first-century remakes. To
what extent can the politics of these films be described as
""disturbing"" insomuch as they promote subversive subtexts that
undermine essentialist perspectives? Do the politics of the film
lie on the surface or are they wedded to the film's aesthetics?
Early in the book, Roche explores historical contexts, aspects of
identity (race, ethnicity, and class), and the structuring role
played by the motif of the American nuclear family. He then asks to
what extent these films disrupt genre expectations and attempt to
provoke emotions of dread, terror, and horror through their
representations of the monstrous and the formal strategies
employed? In this inquiry, he examines definitions of the genre and
its metafictional nature. Roche ends with a meditation on the
extent to which the technical limitations of the horror films of
the 1970s actually contribute to this ""disturbing"" quality.
Moving far beyond the genre itself, Making and Remaking Horror
studies the redux as a form of adaptation and enables a more
complete discussion of the evolution of horror in contemporary
American cinema.
In "Making and Remaking Horror in the 1970s and 2000s" author
David Roche takes up the assumption shared by many fans and
scholars that original horror movies are more "disturbing," and
thus better than the remakes. He assesses the qualities of movies,
old and recast, according to criteria that include subtext,
originality, and cohesion. With a methodology that combines a
formalist and cultural studies approach, Roche sifts aspects of the
American horror movie that have been widely addressed (class, the
patriarchal family, gender, and the opposition between terror and
horror) and those that have been somewhat neglected (race, the
Gothic, style, and verisimilitude). Containing seventy-eight black
and white illustrations, the book is grounded in a close
comparative analysis of the politics and aesthetics of four of the
most significant independent American horror movies of the
1970s--"The Texas Chain Saw Massacre, The Hills Have Eyes, Dawn of
the Dead, " and "Halloween"--and their twenty-first-century
remakes.
To what extent can the politics of these films be described as
"disturbing" insomuch as they promote subversive subtexts that
undermine essentialist perspectives? Do the politics of the film
lie on the surface or are they wedded to the film's aesthetics?
Early in the book, Roche explores historical contexts, aspects of
identity (race, ethnicity, and class), and the structuring role
played by the motif of the American nuclear family. He then asks to
what extent these films disrupt genre expectations and attempt to
provoke emotions of dread, terror, and horror through their
representations of the monstrous and the formal strategies
employed? In this inquiry, he examines definitions of the genre and
its metafictional nature. Roche ends with a meditation on the
extent to which the technical limitations of the horror films of
the 1970s actually contribute to this "disturbing" quality. Moving
far beyond the genre itself, "Making and Remaking Horror" studies
the redux as a form of adaptation and enables a more complete
discussion of the evolution of horror in contemporary American
cinema.
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