The Subject of Film and Race is the first comprehensive intervention into how film critics and scholars have sought to understand cinema's relationship to racial ideology. In attempting to do more than merely identify harmful stereotypes, research on 'films and race' appropriates ideas from post-structuralist theory. But on those platforms, the field takes intellectual and political positions that place its anti-racist efforts at an impasse. While presenting theoretical ideas in an accessible way, Gerald Sim's historical materialist approach uniquely triangulates well-known work by Edward Said with the Neo-Marxian writing about film by Theodor Adorno and Fredric Jameson. The Subject of Film and Race takes on topics such as identity politics, multiculturalism, multiracial discourse, and cyborg theory, to force film and media studies into rethinking their approach, specifically towards humanism and critical subjectivity. The book illustrates theoretical discussions with a diverse set of familiar films by John Ford, Michael Mann, Todd Solondz, Quentin Tarantino, Keanu Reeves, and others, to show that we must always be aware of capitalist history when thinking about race, ethnicity, and films.

Postcolonial Hangups in Southeast Asian Cinema: Poetics of Space, Sound, and Stability rethinks theory and style through films that bring the limits of traditional postcolonial frameworks into stark relief. Discover Singapore's preoccupations with space, Yasmin Ahmad's Malaysian soundscapes, and Indonesia's investment in genre. These undertheorized films from geopolitically situated cultures narrate colonial identity within a distinctively Southeast Asian story. Gerald Sim's immersive journey nurtures connections between narrative film, commercial video, art cinema, and experimental work with an abiding commitment to self-reflexive theorizing. The book culminates in a reflection on the ethics and politics of conducting knowledge work on world cinema. Sim navigates Singapore's love of maps with the work of Tom Conley and Gilles Deleuze, surveys the city-state's cartographic uncanny, before using the spatial inquisitions in filmmaker Tan Pin Pin's "cinema of hiraeth" to appreciate Singapore's territorial predispositions. The book then revisits a beloved Malaysian director's voice of modernity alongside Jean-Luc Nancy's phenomenologies of listening and globalization. Original readings of Ahmad's oeuvre dwell on the interplay between her ethnic cacophonies and imperfect subtitling. Finally, Sim focuses on the postcoloniality of Indonesia's Cold War alliance with the United States to contemplate the overhang of authoritarian stability within its contemporary cinema's generic recourse.

Complete collection of episodes of the popular British comedy starring Penelope Keith and Peter Bowles. Recently widowed Audrey Fforbes-Hamilton (Keith) is devastated when she is forced to sell her ancestral home after the death of her husband leaves her in desperate need of funds. The new owner of Grantleigh Manor, self-made millionaire Richard De Vere (Bowles) sets about making changes to the day-to-day running of the manor which, having just moved into the lodge at the end of the drive, Audrey sees developing before her. As Audrey decides to educate the new lord of the manor in his civic duties, a love-hate relationship develops between the pair with occasional mediation from Audrey's best friend Marjory (Angela Thorne) and Richard's mother Mrs Poo (Dephne Heard). Series 1 episodes are: 'Grantleigh', 'All New Together', 'Rhythms of the Earth/Going to Church', 'Nation's Heritage', 'The Summer Hunt Ball', 'The Grapevine' and 'A Touch of Class'. Series 2 episodes are: 'The Farm Manager', 'The Spare Room', 'Never Be Alone', 'Tramps and Poachers', 'The Honours List' and 'Vive Le Sport'. Series 3 episodes are: 'Scout Hut', 'Station Closing', 'Horses Vs. Cars', 'Birds Vs. Bees', 'Cosmetics', 'Business Troubles' and 'The Wedding'. The collection also includes the Christmas special 'First Noel' from 1979 and the 2007 25th anniversary episode.

The Subject of Film and Race is the first comprehensive intervention into how film critics and scholars have sought to understand cinema's relationship to racial ideology. In attempting to do more than merely identify harmful stereotypes, research on 'films and race' appropriates ideas from post-structuralist theory. But on those platforms, the field takes intellectual and political positions that place its anti-racist efforts at an impasse. While presenting theoretical ideas in an accessible way, Gerald Sim's historical materialist approach uniquely triangulates well-known work by Edward Said with the Neo-Marxian writing about film by Theodor Adorno and Fredric Jameson. The Subject of Film and Race takes on topics such as identity politics, multiculturalism, multiracial discourse, and cyborg theory, to force film and media studies into rethinking their approach, specifically towards humanism and critical subjectivity. The book illustrates theoretical discussions with a diverse set of familiar films by John Ford, Michael Mann, Todd Solondz, Quentin Tarantino, Keanu Reeves, and others, to show that we must always be aware of capitalist history when thinking about race, ethnicity, and films.

Roy Boulting directs this 1950s British comedy starring Glynis Johns as a woman whose sympathy for those in need plays havoc with her love life. Though it may seem to outsiders that Josephine Luton (Johns) is a good match for her fiancé, businessman Alan Hartley (Donald Sinden), there is a major problem - Alan is doing too well to elicit her sympathy. This goes instead to his friend David Hewer (Peter Finch), a playwright whose lack of success thus far leaves him in a melancholy state of mind. Josephine duly begins a romantic relationship with David to try and cheer him up, but are there men in even more desperate straits that could steal her from him?

All 21 episodes of the 1970s comedy series starring Leonard Rossiter as Reginald Perrin, plus the post-Rossiter series 'The Legacy of Reginald Perrin' (1996), and a 1982 Christmas sketch. In the first series, life changes forever for Reggie when he imagines his mother-in-law as a hippo one morning and realises how stressed he is. Reggie begins a one-man campaign against his dull, routine commuter existence, embodied by his boss at Sunshine Desserts, C.J. (John Barron), yes-men colleagues Tony 'Knockout!' Webster (Trevor Adams) and David 'Super!' Harris-Jones (Bruce Bould), incompetent medico Doc Morrissey (John Horsley) and secretary Joan (Sue Nicholls). In Series 2, Reggie, having faked his own death, has adopted the new identity of Martin Wellbourne, his own long-lost friend from Brazil, and re-married his wife, Elizabeth (Pauline Yates). Reggie has also obtained a job at his old firm, Sunshine Desserts, running his own memorial fund. However, tired of pretending to be somebody else, Reggie reveals his true identity - only to be sacked by C.J.: 'I didn't get where I am today by pretending to be my long-lost friend from Brazil'. After an unsatisfying spell on a pig farm, Reggie comes up with a whole new concept in shopping: a store where everything sold is guaranteed 100% useless. He names his new enterprise Grot, and surprises even himself with his success. In the third series, Reggie and Elizabeth, having sold Grot, soon tire of their new lives as travellers, and decide to set up a special community to help people live in peace and harmony. All the old gang are recruited, including Reggie's former boss, C.J., colleagues David and Tony, Doc Morrissey and brother-in-law Jimmy (Geoffrey Palmer) - but will their best efforts meet with success? 'The Legacy of Reginald Perrin' catches up with the characters from the series years later as they are forced to perform silly acts in order to benefit financially from Reggie's will.