Keith Grant and Valerie Maryman know that a meaningful life rests largely upon one's capacity for hope. Our fears and lack of trust in ourselves and others can keep us from leading a purposeful life. Find hope in the commentary of eleven interviewees who share their insights regarding difficult situations and how these situations helped them persevere and lead them to greater meaning in their lives. Embrace compelling interviews of Henry McClendon, Director of New Detroit Rev. Dr. Shelia Brown-Burrell, Life Challenge Erminina Ramirez, Chief Executive Officer of CHASS Janis McFaul, PhD, General Motors Heaster Wheeler, Executive Director of NAACP (Detroit Branch) Adolphus Cast, Bishop of Life Applications Church, Warren, Michigan Edward Wingard, PhD, Retired Vice President of Academic Affairs Union Institute and University Damon Keith, Judge for the U.S. Court of Appeals for the Sixth Circuit Rosalind Andrews Worthy, Founder of Gospel Against AIDS Jamie Kjos, Pastor of Brightmoor Christian Church, Novi, Michigan Marjorie Harris, PhD, Retired President of Lewis College of Business Let Fruit of the Spirit provide you with inspiration to help you persevere and develop more hope, resilience, and faith to live a more meaningful life.

This book fill the huge gap between the bites of oversimplified information found in most business magazines and the full-length books that no one has enough time to read. They have chosen very important topics in management.

New Zealand has produced one of the world's most vibrant film cultures, a reflection of the country's evolving history and the energy and resourcefulness of its people. From early silent features like "The Te Kooti Trail" to recent films such as "River Queen," this book examines the role of the cinema of New Zealand in building a shared sense of national identity. The works of key directors, including Peter Jackson, Jane Campion, and Vincent Ward, are here introduced in a new light, and select films are given in-depth coverage. Among the most informative accounts of New Zealand's fascinating national cinema, this will be a must for film scholars around the globe.

In "Online Education: Global Questions, Local Answers", 24 college educators focus on the most important questions to be addressed by all scholar-teachers and administrators committed to developing high-quality online education programs. We describe these questions as "global" because they transcend the particular situations of individual institutions. They are questions that everyone involved in online education needs to address: What are the issues to consider when first developing and then sustaining an online education program? How do we create interactive, pedagogically sound online courses and classroom communities? How should we monitor and assess the quality of online courses and programs? And how should recent developments and innovations in online education cause us to reexamine our roles and responsibilities as educators in technical communication?While these global questions affect all of us in one way or another, they demand different local answers, such as those presented by the contributors to this text. Readers will need to consider which of these local answers might apply to their own situations and how these answers might need to be adapted to reflect the particular needs of their own institutions.

Robin Wood's writing on the horror film, published over five decades, collected in one volume. Robin Wood-one of the foremost critics of cinema-has laid the groundwork for anyone writing about the horror film in the last half-century. Wood's interest in horror spanned his entire career and was a form of popular cinema to which he devoted unwavering attention. Robin Wood on the Horror Film: Collected Essays and Reviews compiles over fifty years of his groundbreaking critiques. In September 1979, Wood and Richard Lippe programmed an extensive series of horror films for the Toronto International Film Festival and edited a companion piece: The American Nightmare: Essays on the Horror Film - the first serious collection of critical writing on the horror genre. Robin Wood onthe Horror Film now contains all of Wood's writings from The American Nightmare and nearly everything else he wrote over the years on horror-published in a range of journals and magazines-gathered together for the first time. It begins with the first essay Wood ever published, ""Psychoanalysis of Psycho,"" which appeared in1960 and already anticipated many of the ideas explored later in his touchstone book, Hitchcock's Films. The volume ends, fittingly, with, ""What Lies Beneath?"", written almost five decades later, an essay in which Wood reflects on the state of the horror film and criticism since the genre's renaissance in the 1970s. Wood's prose iseloquent, lucid, and convincing as he brings together his parallel interests in genre, authorship, and ideology. Deftly combining Marxist, Freudian, and feminist theory, Wood's prolonged attention to classic and contemporary horror films explains much about the genre's meanings and cultural functions. Robin Wood on the Horror Film will be an essential addition to the library of anyone interested in horror, science fiction, and film genre.

Frederick Wiseman is America's foremost chronicler of public institutions. His films have focused on city, state, and local governments; hospitals; asylums; creative organizations and museums; schools; libraries; and more. In recent years, Wiseman's work has reached a new level of popularity, with films such as In Jackson Heights (2015), Monrovia, Indiana (2018), and City Hall (2020) all earning widespread acclaim. Voyages of Discovery is the definitive account of Wiseman's career, offering a comprehensive analysis of the work of the leading documentary filmmaker in the United States. In this updated edition, Barry Keith Grant adds new material exploring the documentarian's works since the 1990s, discussing every film in Wiseman's remarkable sixty-year career. He examines the core concerns running across Wiseman's work from the early films, which focus on documenting institutional failure, through an expanding interest in cultural institutions and ideology, to a blossoming embrace of democracy in later films. He pays particular attention to Wiseman's strategies for involving and implicating the spectator in the institutional processes the films document. Grant also places Wiseman within the history of the documentary and other traditions of American art and considers the relationship between documentary film and authorship. Voyages of Discovery is an important book for anyone interested in Wiseman's work or how documentary film can reveal the fabric of our shared civic life.

First Published in 2017. Routledge is an imprint of Taylor and Francis, an Informa company.

The collection asks how faculty, courses, and programmes have responded and adapted to changes in students' needs and abilities, to economic constraints, to new course management systems, and to Web 2.0 technologies such as social networking, virtual worlds, and mobile communication devices. Addressing these questions it includes contributing voices from a wide variety of post-secondary, from urban and rural institutions and from technological and career colleges.

Monster Cinema introduces readers to a vast menagerie of movie monsters. Some are gigantic, like King Kong or the kaiju in Pacific Rim, while others are microscopic. Some monsters appear uncannily human, from serial killers like Norman Bates to the pod people in Invasion of the Body Snatchers. And of course, other movie monsters like demons, ghosts, vampires, and witches emerge from long folklore traditions. Film expert Barry Keith Grant considers what each type of movie monster reveals about what it means to be human and how we regard the world. Armed with an encyclopedic knowledge of film history, Grant presents us with an eclectic array of monster movies, from Nosferatu to Get Out. As he discovers, although monster movies might claim to be about Them!, they are really about the capacity for horror that lurks within each of us.

The original edition of Planks of Reason was the first academic critical anthology on horror. In retrospect, it appeared as a kind of homage to the "golden age" of the American horror film, as this genre played an increasing role in film culture and American life. The original material represented the history of the genre through the early 1980s and is a crucial part of the book's value, then and now. The first edition helped legitimize academic writing on the horror genre by addressing breakthrough works of such directors as John Carpenter, Tobe Hooper, George Romero, David Cronenberg, and Wes Craven. This revised edition retains the spirit of the original, but also offers new takes on rediscovered classics and recent developments in the genre. In addition to reprinting 17 essays, including Robin Wood's "An Introduction to the American Horror Film," this revised edition features a new essay on the yuppie horror film by editor Barry Keith Grant, as well as an updated analysis of The Texas Chainsaw Massacre by co-editor Christopher Sharrett. Other new essays focus on William Castle's The Tingler and Roger Corman's Pit and the Pendulum, and the recent wave of Japanese horror films. Contains more than 60 photos.

"[A] well-plotted survey." Total Film In 100 American Horror Films, Barry Keith Grant presents entries on 100 films from one of American cinema's longest-standing, most diverse and most popular genres, representing its rich history from the silent era - D.W. Griffith's The Avenging Conscience of 1915 - to contemporary productions - Jordan Peele's 2017 Get Out. In his introduction, Grant provides an overview of the genre's history, a context for the films addressed in the individual entries, and discusses the specific relations between American culture and horror. All of the entries are informed by the question of what makes the specific film being discussed a horror film, the importance of its place within the history of the genre, and, where relevant, the film is also contextualized within specifically American culture and history. Each entry also considers the film's most salient textual features, provides important insight into its production, and offers both established and original critical insight and interpretation. The 100 films selected for inclusion represent the broadest historical range, and are drawn from every decade of American film-making, movies from major and minor studios, examples of the different types or subgenres of horror, such as psychological thriller, monster terror, gothic horror, home invasion, torture porn, and parody, as well as the different types of horror monsters, including werewolves, vampires, zombies, mummies, mutants, ghosts, and serial killers.

An exploration of the pastoral theology of Andrew Fuller (1754-1815) suggests that evangelical renewal did not only take place alongside the local church - missions, itinerancy, voluntary societies - but also within the congregation as the central tasks of dissenting pastoral ministry became, in the words of one diarist, 'very affecting and evangelical'. How did evangelicalism transform dissenting and Baptist churches in the eighteenth century? Is there a distinctively congregational expression of evangelicalism? And what contribution has evangelicalism made to pastoral theology? renewal did not only take place alongside the local church - missions, itinerancy, voluntary societies - but also within the congregation as dissenting pastoral ministry became, in the words of one diarist, 'very affecting and evangelical'.

Originally published in 1977 and long out of print, Maurice Yacowar's Hitchcock's British Films was the first volume devoted solely to the twenty-three films directed by Alfred Hitchcock in his native England before he came to the United States. As such, it was the first book to challenge the assumption that Hitchcock's ""mature"" period in Hollywood, from the late 1940s to the early 1960s, represented the director's best work. In this traditional auteurist examination of Hitchcock's early work, author Maurice Yacowar considers Hitchcock's British films in chronological order, reads the composition of individual shots and scenes in each, and pays special attention to the films' verbal effects. Yacowar's readings remain compelling more than thirty years after they were written, and some-on Downhill, Champagne, and Waltzes from Vienna-are among the few extended interpretations of these films that exist. Alongside important works such as Murder!, the first The Man Who Knew Too Much, Secret Agent, The Lady Vanishes, and Blackmail, readers will appreciate Yacowar's equal attention to lesser-known films like The Pleasure Garden, The Ring, and The Manxman. Yacowar dissects Hitchcock's precise staging and technical production to draw out ethical themes and metaphysical meanings of each film, while keeping a close eye on the source material, such as novels and plays, that Hitchcock used as the inspiration for many of his screenplays. Yacowar concludes with an overview of Hitchcock as auteur and an appendix identifying the director's appearances in these films. A foreword by Barry Keith Grant and a preface to the second edition from Yacowar complete this comprehensive volume. Anyone interested in Hitchcock, classic British cinema, or the history of film will appreciate Yacowar's accessible and often witty exploration of the director's early work.

This revealing history of the American film musical synthesizes the critical literature on the genre and provides a series of close analytical readings of iconic musical films, focusing on their cultural relationship to other aspects of American popular music.Offers a depth of scholarship that will appeal to students and scholarsLeads a crucial analysis of the cultural context of musicals, particularly the influence of popular music on the genreDelves into critical issues behind these films such as race, gender, ideology, and authorshipFeatures close readings of canonical and neglected film musicals from the 1930s to the present including: "Top Hat," "Singin' in the Rain," "Woodstock," "Gimme Shelter," "West Side Story," and "Across the Universe"

Monster Cinema introduces readers to a vast menagerie of movie monsters. Some are gigantic, like King Kong or the kaiju in Pacific Rim, while others are microscopic. Some monsters appear uncannily human, from serial killers like Norman Bates to the pod people in Invasion of the Body Snatchers. And of course, other movie monsters like demons, ghosts, vampires, and witches emerge from long folklore traditions. Film expert Barry Keith Grant considers what each type of movie monster reveals about what it means to be human and how we regard the world. Armed with an encyclopedic knowledge of film history, Grant presents us with an eclectic array of monster movies, from Nosferatu to Get Out. As he discovers, although monster movies might claim to be about Them!, they are really about the capacity for horror that lurks within each of us.

Much of the writing in film studies published today can be understood as genre criticism, broadly speaking. And even before film studies emerged as an academic discipline in the 1970s, cultural observers within and beyond the academy were writing about genre films and making fascinating attempts to understand their conventions and how they speak to, for, and about the culture that produces them. While this early writing on genre film was often unsystematic, impressionistic, journalistic, and judgmental, it nonetheless produced insights that remain relevant and valuable today. Notions of Genre gathers the most important early writing on film genre and genre films published between 1945 and 1969. It includes articles by such notable critics as Susan Sontag, Dwight Macdonald, Siegfried Kracauer, James Agee, Andre Bazin, Robert Warshow, and Claude Chabrol, as well as essays by scholars in academic disciplines such as history, sociology, and theater. Their writings address major issues in genre studies, including definition, representation, ideology, audiences, and industry practices, across genres ranging from comedy and westerns to horror, science fiction, fantasy, gangster films, and thrillers. The only single-volume source for this early writing on genre films, Notions of Genre will be an invaluable resource for scholars and students of film genre, film history, film theory, cultural studies, and popular culture.

Frederick Wiseman is America's foremost chronicler of public institutions. His films have focused on city, state, and local governments; hospitals; asylums; creative organizations and museums; schools; libraries; and more. In recent years, Wiseman's work has reached a new level of popularity, with films such as In Jackson Heights (2015), Monrovia, Indiana (2018), and City Hall (2020) all earning widespread acclaim. Voyages of Discovery is the definitive account of Wiseman's career, offering a comprehensive analysis of the work of the leading documentary filmmaker in the United States. In this updated edition, Barry Keith Grant adds new material exploring the documentarian's works since the 1990s, discussing every film in Wiseman's remarkable sixty-year career. He examines the core concerns running across Wiseman's work from the early films, which focus on documenting institutional failure, through an expanding interest in cultural institutions and ideology, to a blossoming embrace of democracy in later films. He pays particular attention to Wiseman's strategies for involving and implicating the spectator in the institutional processes the films document. Grant also places Wiseman within the history of the documentary and other traditions of American art and considers the relationship between documentary film and authorship. Voyages of Discovery is an important book for anyone interested in Wiseman's work or how documentary film can reveal the fabric of our shared civic life.

Since its explosion in the 1950s, science fiction has become one of the most popular film genres, with numerous dedicated fan conventions, academic conferences, websites, magazines, journals, book clubs, memorabilia and collectibles. Once relegated to B budget status, today's science fiction films are often blockbuster productions, featuring major stars.
Despite its high profile, science fiction is notoriously difficult to define. In his introduction to "100 Science Fiction Films," Barry Keith Grant explains the genre's complexities, while also providing an overview of its history, suggesting that the cinema is an ideal medium for conveying the 'sense of wonder' that critics have argued is central to the genre. From Georges Melies's "Le Voyage
dans la lune" (1902), to the blockbusters of the 1970s that dramatically changed Hollywood, to the major releases of the past few years, the films featured in this book represent a range of periods, countries and types (including alien invasion, space travel, time travel, apocalypse, monsters and anime), and cover the key directors and writers.
"100 Science Fiction Films" provides a lively and illuminating guide to the genre from the beginning of film history to the present, taking the reader on a comprehensive tour through the rich and varied alternate universe of sci-fi cinema.

"Covering Niagara: Studies in Local Popular Culture" closely examines some of the myriad forms of popular culture in the Niagara region of Canada. Essays consider common assumptions and definitions of what popular culture is and seek to determine whether broad theories of popular culture can explain or make sense of localized instances of popular culture and the cultural experiences of people in their daily lives.

Among the many topics covered are local bicycle parades and war memorials, cooking and wine culture, radio and movie-going, music stores and music scenes, tourist sites, and blackface minstrel shows. The authors approach their subjects from a variety of critical and historical perspectives and employ a range of methodologies that includes cultural studies, textual analysis, archival research, and participant interviews. Altogether, "Covering Niagara" provides a richly diverse mapping of the popular culture of a particular area of Canada and demonstrates the complexities of everyday culture.

Stagecoach is one of the classics of Hollywood cinema. Made in 1939, it revitalized the Western genre, served as a milestone in John Ford's career, and made John Wayne a star. This volume offers a rich overview of the film in essays by six leading film critics. Approaching Stagecoach from a variety of critical perspectives, they place the film within the contexts of authorship, genre, American history and culture. Also examined are the film's commentary on race, class, gender and democracy, while remaining attentive to the film's artistry.

Much of the writing in film studies published today can be understood as genre criticism, broadly speaking. And even before film studies emerged as an academic discipline in the 1970s, cultural observers within and beyond the academy were writing about genre films and making fascinating attempts to understand their conventions and how they speak to, for, and about the culture that produces them. While this early writing on genre film was often unsystematic, impressionistic, journalistic, and judgmental, it nonetheless produced insights that remain relevant and valuable today. Notions of Genre gathers the most important early writing on film genre and genre films published between 1945 and 1969. It includes articles by such notable critics as Susan Sontag, Dwight Macdonald, Siegfried Kracauer, James Agee, Andre Bazin, Robert Warshow, and Claude Chabrol, as well as essays by scholars in academic disciplines such as history, sociology, and theater. Their writings address major issues in genre studies, including definition, representation, ideology, audiences, and industry practices, across genres ranging from comedy and westerns to horror, science fiction, fantasy, gangster films, and thrillers. The only single-volume source for this early writing on genre films, Notions of Genre will be an invaluable resource for scholars and students of film genre, film history, film theory, cultural studies, and popular culture.

It is hard to discuss the current film industry without acknowledging the impact of comic book adaptations, especially considering the blockbuster success of recent superhero movies. Yet transmedial adaptations are part of an evolution that can be traced to the turn of the last century, when comic strips such as "Little Nemo in Slumberland" and "Felix the Cat" were animated for the silver screen. Representing diverse academic fields, including technoculture, film studies, theater, feminist studies, popular culture, and queer studies, Comics and Pop Culture presents more than a dozen perspectives on this rich history and the effects of such adaptations. Examining current debates and the questions raised by comics adaptations, including those around authorship, style, and textual fidelity, the contributors consider the topic from an array of approaches that take into account representations of sexuality, gender, and race as well as concepts of world-building and cultural appropriation in comics from Modesty Blaise to Black Panther. The result is a fascinating re-imagination of the texts that continue to push the boundaries of panel, frame, and popular culture.

Stagecoach is one of the classics of Hollywood cinema. Made in 1939, it revitalized the Western genre, served as a milestone in John Ford's career, and made John Wayne a star. This volume offers a rich overview of the film in essays by six leading film critics. Approaching Stagecoach from a variety of critical perspectives, they place the film within the contexts of authorship, genre, American history and culture. Also examined are the film's commentary on race, class, gender and democracy, while remaining attentive to the film's artistry.

CBS's The Twilight Zone (1959-1964) remains a benchmark of serious telefantasy and one of the most iconic series in the history of American television. Barry Keith Grant carefully situates The Twilight Zone within the history of broadcast television and American culture, both of which were changing dramatically during the five seasons the series originally aired. At the same time, the genres of science fiction, horror, and fantasy were moving from marginal to mainstream, a cultural shift that The Twilight Zone was both part of and largely responsible for. Grant begins by considering The Twilight Zone's use of genre conventions and iconography to craft its pithy parables. The show shared visual shorthand that addressed both older audiences familiar with Hollywood movies but unfamiliar with fantasy and science fiction as well as younger audiences more attuned to these genres. Rod Serling looms large in the book as the main creative force of The Twilight Zone, and Grant explains how he provided the show's artistic vision and its place within the various traditions of the fantastic. Tracing motifs and themes in numerous episodes, Grant demonstrates how The Twilight Zone functioned as an ideal example of collective authorship that powerfully expressed both timeless terrors and the anxieties of the age, such as the Cold War, in thought-provoking fantasy. Grant argues that the imaginary worlds offered by the show ultimately endorse the Americanism it simultaneously critiques. The striking blending of the fantastic and the familiar that Grant identifies in The Twilight Zone reflected Serling's goal of offering serious stories in a genre that had previously been targeted only to juvenile television audiences. Longtime fans of the show and new viewers of Jordan Peele's 2019 reboot alike will enjoy this deep dive into the original series' history, style, and significance.