This book theorizes subversive action, a neglected mechanism in the new institutionalism literature. Subversive action is political in nature, secretly undermining some institutions to open up alternative ideas or to secure existing institutions by secretly undermining adversaries. An example is a politician who promises change in public, but does something else behind the scenes to preserve the status quo. The book addresses the nature and meaning of subversive action and the contexts that give rise to it, as well as how it can work as an important mechanism behind institutional change and continuity. The book will interest students and scholars of public policy, public administration and political science.

This book considers how public sector institutions can be transformed to better support sustainable development by exploring the concept of green inside activism and its importance for institutional change. The phenomenon of inside activism has been shown to be crucial for green policy change and this book focuses on public officials as green inside activists, committed to green values and engaged in social movement, acting strategically from inside public administration to change public policy and institutions in line with such value commitment. The book theorizes how green inside activism can contribute to a more sustainable development through institutional change. This theorizing builds on and relates to highly relevant theoretical arguments in the existing literature. The authors also consider the legitimacy of inside activism and how it can be reconciled with democratic ideals. This innovative work will appeal to students and scholars of public policy, political science and environmental politics.

This book considers how public sector institutions can be transformed to better support sustainable development by exploring the concept of green inside activism and its importance for institutional change. The phenomenon of inside activism has been shown to be crucial for green policy change and this book focuses on public officials as green inside activists, committed to green values and engaged in social movement, acting strategically from inside public administration to change public policy and institutions in line with such value commitment. The book theorizes how green inside activism can contribute to a more sustainable development through institutional change. This theorizing builds on and relates to highly relevant theoretical arguments in the existing literature. The authors also consider the legitimacy of inside activism and how it can be reconciled with democratic ideals. This innovative work will appeal to students and scholars of public policy, political science and environmental politics.

This book theorizes subversive action, a neglected mechanism in the new institutionalism literature. Subversive action is political in nature, secretly undermining some institutions to open up alternative ideas or to secure existing institutions by secretly undermining adversaries. An example is a politician who promises change in public, but does something else behind the scenes to preserve the status quo. The book addresses the nature and meaning of subversive action and the contexts that give rise to it, as well as how it can work as an important mechanism behind institutional change and continuity. The book will interest students and scholars of public policy, public administration and political science.

Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied. Contributors argue that on- and offscreen (and in affiliated media and technological constellations), the body consists of flesh and nerves and is not just an abstract spectator or statistical audience entity. Audience responses from arousal to disgust, from identification to detachment, offer us a means to understand what spectators have always taken away from their cinematic experience. Through theoretical approaches and case studies, scholars offer a variety of models for stimulating historical research on corporeality and cinema by exploring the matrix of screened bodies, machine-made scaffolding, and their connections to the physical bodies in front of the screen.

In this cross-cultural history of narrative cinema and media from the 1910s to the 1930s, leading and emergent scholars explore the transnational crossings and exchanges that occurred in early cinema between the two world wars. Drawing on film archives from around the world, this volume advances the premise that silent cinema freely crossed national borders and linguistic thresholds in ways that became far less possible after the emergence of sound. These essays address important questions about the uneven forces geographic, economic, political, psychological, textual, and experiential that underscore a non-linear approach to film history. The "messiness" of film history, as demonstrated here, opens a new realm of inquiry into unexpected political, social, and aesthetic crossings of silent cinema."

Alfred Hitchcock: cultural icon, master film director, storyteller, television host, foodie. And as Jan Olsson argues in Hitchcock a la Carte, he was also an expert marketer who built his personal brand around his rotund figure and well-documented table indulgencies. Focusing on Hitchcock's television series Alfred Hitchcock Presents (1955-1962) and the The Alfred Hitchcock Hour (1962-1965), Olsson asserts that the success of Hitchcock's media empire depended on his deft manipulation of bodies and the food that sustained them. Hitchcock's strategies included frequently playing up his own girth, hiring body doubles, making numerous cameos, and using food-such as a frozen leg of lamb-to deliver scores of characters to their deaths. Constructing his brand enabled Hitchcock to maintain creative control, blend himself with his genre, and make himself the multi-million-dollar franchise's principal star. Olsson shows how Hitchcock's media brand management was a unique performance model that he used to mark his creative oeuvre as strictly his own.

This study provides a meticulous account of the reception and regulation of cinema in the United States during a decade of upheaval, transition, and industrial consolidation that affected all aspects of film culture. Written in close dialogue with contemporary journalism, the volume focuses on Los Angeles film culture from 1905 to 1915. The study discusses exhibition practices, regulatory efforts and reforms, the critical role of women in all areas of film culture, and the burgeoning movement of film journalism that pivoted around the feature format and serial films. Jan Olsson makes an important contribution to both film history and urban studies on the Progressive Era as it took place within a multiethnic city predicated on Midwestern sensibilities.

Nordic ExplorationsFilm before 1930Edited by John Fullerton and Jan Olsson

Examines early cinema from Denmark, Norway, Sweden, and Finland.

Nordic Explorations: Film before 1930 includes 20 original essays written for the 1999 retrospective of Nordic cinema at Le Giomate del Cinema Muto in Italy. The anthology brings together some of the leading current research on early cinema in Denmark, Finland, Norway, and Sweden, and includes essays on such major figures in Nordic cinema as Dreyer, Christensen, Sjostrom, and Stiller. This anthology also contains studies of the Norwegian travel genre, Nordic animated film, the relation of Nordic cinema to German and Russian film, the development of educational cinema and industrial film, as well as in-depth studies of individual films, filmmakers, national styles, and the relation of the medium to other forms of popular entertainment.

The essays in Nordic Explorations make a timely contribution to the study of early cinema, afford authoritative and stimulating insight into research in the field, and challenge many assumptions regarding Nordic cinema before 1930. This volume is essential reading for all film history specialists, researchers, and students of film studies.

John Fullerton is Associate Professor in the Department of Cinema Studies, Stockholm University, and has published widely on early Swedish film. He edited Celebrating 1895: The Centenary of Cinema and coedited with Jan Olsson the Stockholm Studies in Cinema series, and edited. He is also coeditor of Moving Images: From Edison to the Webcam, the second publication in the Stockholm Studies in Cinema series.

Jan Olsson is Professor in the Department of Cinema Studies, Stockholm University, and has published many books on Scandinavian cinema, including Allegories of Communication: Intermedial Concerns from Cinema to Digital.

Stockholm Studies in Cinema series (Distributed for John Libbey)Now availableCloth ISBN 1 86462 055 2 $24.95

I'm not editing this tc since we probably won't use -- let me know if you will ]ContentsDenmarkA Small Danish Player in a Big Market: A/S Filmfabriken Danmark's Output in Russia, 1913-1917 / Jan NielsenNordisk Films Kompagni and the First World War / Thomas C. ChristensenRed Satan: Carl Theodor Dreyer and the Bolshevik Threat / Casper TybjergBenjamin Christensen in Germany / Ib MontyPalladium and the Silent Films with ""Long and Short"" / Marguerite EngbergA la recherche des films perdus: A Substantial Find of Early Danish Cinema / Bo BerglundFinland: Born Under the Sign of the Scarlet Flower: Pantheism in Finnish Silent Cinema / Antti AlanenFinnish Film in the 1920s: Defining a National Cinema / Peter von BaghNorway: Sisters of Cinema: Three Norwegian Female Actors and their German Film Company, 1917--1920 / Gunnar IversenTravel Films in Norway: The Persistence of the View Aesthetic / Bjorn SorenssenCaricatures, Commercials, and Political Un-correctness: The Silent Nordic Animated Film / Gunnar StromSweden: Exchange and Exhibition Practices: Notes on the Swedish Market in the Transitional Era/ Jan OlssonEducational Cinema and Censorship in Sweden, 1911--1921 / Asa JemuddSeeing the World with Different Eyes, or Seeing Differently: Cinematographic Vision and Turn-of-the-century Popular Entertainment / John FullertonTowards Classical Narration? Georg at Klercher in Context / Astrid Soderbergh Widding""A Dangerous Pledge"": Victor Sjostrom's Unknown Masterpiece Masterman / Tom GunningSpearhead in a Blind Alley: Viking Eggeling's Diagonal Symphony / Gosta WernerSnow-white: The Aesthetic and Narrative Use of Snow in Swedish Silent Film / Marina DahiquistVictor Goes West: Notes on the Critical Reception of Sjostrom's Hollywood Films, 1923--1930 / Bo FlorinIndustrial Greta: Some Thoughts on an Industrial Film / Mats Bjorkin

Stockholm Studies in Cinema series

Sweden's early film industry was dominated by Swedish Biograph (Svenska Biografteatern), home to star directors like Victor SjOEstrOEm and Mauritz Stiller. It is nostalgically remembered as the generative site of a nascent national artform, encapsulating a quintessentially Nordic aesthetic-the epicenter of Sweden's cinematic Golden Age. In The Life and Afterlife of Swedish Biograph, veteran film scholar Jan Olsson takes a hard look at this established, romanticized narrative and offers a far more complete, complex, and nuanced story. Nearly all of the studio's original negatives were destroyed in an explosion in 1941, but Olsson's comprehensive archival research shows how the company operated in a commercial, international arena, and how it was influenced not just by Nordic aesthetics or individual genius but also by foreign audiences' expectations, technological demands, Hollywood innovations, and the gritty back-and-forth between economic pressures, government interference, and artistic desires. Olsson's focus is wide, encompassing the studio's production practices, business affairs, and cinematographic conventions, as well as the latter-day archival efforts that both preserved and obscured parts of Swedish Biograph's story, helping construct the company's rosy legacy. The result is a necessary rewrite to Swedish film historiography and a far fuller picture of a canonical film studio.

In the last ten years, television has reinvented itself in numerous ways. The demise of the U.S. three-network system, the rise of multi-channel cable and global satellite delivery, changes in regulation policies and ownership rules, technological innovations in screen design, and the development of digital systems like TiVo have combined to transform the practice we call watching tv. If tv refers to the technologies, program forms, government policies, and practices of looking associated with the medium in its classic public service and three-network age, it appears that we are now entering a new phase of television. Exploring these changes, the essays in this collection consider the future of television in the United States and Europe and the scholarship and activism focused on it.With historical, critical, and speculative essays by some of the leading television and media scholars, Television after TV examines both commercial and public service traditions and evaluates their dual (and some say merging) fates in our global, digital culture of convergence. The essays explore a broad range of topics, including contemporary programming and advertising strategies, the use of television and the Internet among diasporic and minority populations, the innovations of new technologies like TiVo, the rise of program forms from reality tv to lifestyle programs, television's changing role in public places and at home, the Internet's use as a means of social activism, and television's role in education and the arts. In dialogue with previous media theorists and historians, the contributors collectively rethink the goals of media scholarship, pointing toward new ways of accounting for television's past, present, and future. Contributors. William Boddy, Charlotte Brunsdon, John T. Caldwell, Michael Curtin, Julie D'Acci, Anna Everett, Jostein Gripsrud, John Hartley, Anna McCarthy, David Morley, Jan Olsson, Priscilla Pena Ovalle, Lisa Parks, Jeffrey Sconce, Lynn Spigel, William Uricchio

Alfred Hitchcock: cultural icon, master film director, storyteller, television host, foodie. And as Jan Olsson argues in Hitchcock a la Carte, he was also an expert marketer who built his personal brand around his rotund figure and well-documented table indulgencies. Focusing on Hitchcock's television series Alfred Hitchcock Presents (1955-1962) and the The Alfred Hitchcock Hour (1962-1965), Olsson asserts that the success of Hitchcock's media empire depended on his deft manipulation of bodies and the food that sustained them. Hitchcock's strategies included frequently playing up his own girth, hiring body doubles, making numerous cameos, and using food-such as a frozen leg of lamb-to deliver scores of characters to their deaths. Constructing his brand enabled Hitchcock to maintain creative control, blend himself with his genre, and make himself the multi-million-dollar franchise's principal star. Olsson shows how Hitchcock's media brand management was a unique performance model that he used to mark his creative oeuvre as strictly his own.

This resource provides a comprehensive plan for creating and sustaining a school- and classroom-based character development programme while maintaining a unique and consistent focus on "keeping it simple" and "making it real." Unlike many existing models for character development, the book's approach addresses the underlying factors that limit students' interest and/or desire to develop positive attitudes and behaviours. These elements include students' perceptions about their physical, emotional, and intellectual environments, and how those environments are influenced by the relationships with their principals, teachers, and each other. Based on research, best practices, and the author's more than 30 years in education, Keep It Simple, Make It Real: Character Development in Grades 6-12 gives educators a powerful tool for influencing students' attitudes and behaviours.