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Cinema is an affective medium. Films move us to feel wonder, joy, and love as well as fear, anger, and hatred. Today, we are living through a new age of sensibility when emotion is given priority over reason. Hollywood produces movies that employ cheap manipulative tricks to make audiences cry, feel good, or jump in fright. Yet, there is a counter-cultural current in contemporary American cinema that offers a more nuanced treatment of emotion. Both aesthetically and eidetically, this new cinema of affect allows viewers to make up their own minds about what they feel and think. This book focuses on key films by important auteur-directors--David Fincer, Bryan Singer, Christopher Nolan, Kathryn Bigelow, Richard Linklater, Barry Jenkins, Greta Gerwig, and Pete Docter--who are to the forefront of this new cinema. Without ever being dogmatic, these directors' films offer their audiences a glimpse at strategies for relating to, and entering into being with, others in a manner that can be regarded as profoundly ethical. Employing affect theory, Jungian analytical psychology, and Hegelian dialecticism, this book explores how these filmmakers anatomize affect, showing how it functions in the creation or degradation of character and society.

This book is about the Wildean aesthetic in contemporary Irish drama. Through elucidating a discernible Wildean strand in the plays of Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness, it demonstrates that Oscar Wilde's importance to Ireland's theatrical canon is equal to that of W. B. Yeats, J. M. Synge and Samuel Beckett. The study examines key areas of the Wildean aesthetic: his aestheticizing of experience via language and self-conscious performance; the notion of the dandy in Wildean texts and how such a figure is engaged with in today's dramas; and how his contribution to the concept of a 'verbal theatre' has influenced his dramatic successors. It is of particular pertinence to academics and postgraduate students in the fields of Irish drama and Irish literature, and for those interested in the work of Oscar Wilde, Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness. okokpoj

This book is about the Wildean aesthetic in contemporary Irish drama. Through elucidating a discernible Wildean strand in the plays of Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness, it demonstrates that Oscar Wilde's importance to Ireland's theatrical canon is equal to that of W. B. Yeats, J. M. Synge and Samuel Beckett. The study examines key areas of the Wildean aesthetic: his aestheticizing of experience via language and self-conscious performance; the notion of the dandy in Wildean texts and how such a figure is engaged with in today's dramas; and how his contribution to the concept of a 'verbal theatre' has influenced his dramatic successors. It is of particular pertinence to academics and postgraduate students in the fields of Irish drama and Irish literature, and for those interested in the work of Oscar Wilde, Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness. okokpoj

During my 14 years spent in the Middle East I came upon rumors about a contract being put on the Israeli Defense Minister for his involvement in the 1982 Lebanon invasion. This contract never took place but I have written the book with the view that it did. The story takes several twists and turns and occurs in countries such as U.K.Thailand,Canary Islands,Singapore etc.With characters from the U.S.,Switzerland,Australia, and U.K.it all combines to be a real page turner with a surprise conclusion.