Renowned for making films that are at once sly domestic satires and heartbreaking 'social realist' dramas, British writer-director Mike Leigh confronts his viewers with an un-romanticized dramatization of modern-day society in the hopes of inspiring them to strive for greater self-awareness and compassion for others. This collection features new, interdisciplinary essays that cover all phases of the BAFTA-award-winner's film career, from his early made-for-television film work to his theatrical releases, including "Life is Sweet" (1990), "Naked" (1993), "Secrets & Lies" (1996), "Career Girls" (1997), "Topsy-Turvy" (1999), "All or Nothing" (2002), "Vera Drake" (2004), "Happy-Go-Lucky" (2008) and "Another Year "(2010).With contributions from international scholars from a variety of fields, the essays in this collection cover individual films and the recurring themes and motifs in several films, such as representations of class and gender, and overt social commentary and political subtexts. Also covered are Leigh's visual stylizations and storytelling techniques ranging from explorations of the costume design to set design to the music and camerawork and editing; the collaborative process of 'devising and directing' a Mike Leigh film that involves character-building, world-construction, plotting, improvisations and script-writing; the process of funding and marketing for these seemingly 'uncommercial' projects, and a survey of Leigh's critical reception and the existing writing on his work.

Contributions by Phil Bevin, Blair Davis, Marc DiPaolo, Michele Fazio, James Gifford, Kelly Kanayama, Orion Ussner Kidder, Christina M. Knopf, Kevin Michael Scott, Andrew Alan Smith, and Terrence R. Wandtke In comic books, superhero stories often depict working-class characters who struggle to make ends meet, lead fulfilling lives, and remain faithful to themselves and their own personal code of ethics. Working-Class Comic Book Heroes: Class Conflict and Populist Politics in Comics examines working-class superheroes and other protagonists who populate heroic narratives in serialized comic books. Essayists analyze and deconstruct these figures, viewing their roles as fictional stand-ins for real-world blue-collar characters. Informed by new working-class studies, the book also discusses how often working-class writers and artists created these characters. Notably Jack Kirby, a working-class Jewish artist, created several of the most recognizable working-class superheroes, including Captain America and the Thing. Contributors weigh industry histories and marketing concerns as well as the fan community's changing attitudes towards class signifiers in superhero adventures. The often financially strapped Spider-Man proves to be a touchstone figure in many of these essays. Grant Morrison's Superman, Marvel's Shamrock, Alan Moore and David Lloyd's V for Vendetta, and The Walking Dead receive thoughtful treatment. While there have been many scholarly works concerned with issues of race and gender in comics, this book stands as the first to deal explicitly with issues of class, cultural capital, and economics as its main themes.

In Japan and much of Europe, Ozu is widely considered to be one of the finest film directors who ever lived. While Ozu has a strong reputation in the West, his films are not as well-known or widely appreciated in the U.S. as they are elsewhere. A notable exception to this trend is film critic Roger Ebert, who recently wrote that Ozu is one of his "three or four" favorite directors. Also, moving beyond the view that "Tokyo Story" is a masterful exception in the Ozu canon, Ebert sees Ozu's films as "nearly always of the same high quality." "Ozu International" will reflect on Ebert's view of Ozu by arguing that this director deserves broader recognition in the U.S., and that his entire canon is worthy of serious study. With the recent release of more than 15 Ozu DVDs in the Criterion Collection, covering every phase of his career at least in part (including silent films, black-and-white talkies, and color films), "Ozu International" helps to fill a lingering gap in English-language scholarship on Ozu by giving this new generation of scholars a book-length forum to explore new critical perspectives on an unfairly neglected director. Contributions include specialists in Japanese culture, academics from a range of disciplines, and professional films critics.

During the Second Vatican Council, the Roman Catholic Church went through a period of liberal reform under the stewardship of Popes John XXIII and Paul VI. Successive popes sharply reversed course, enforcing conservative ideological values and silencing progressive voices in the Church. Consequently, those Catholics who had embraced the spirit of Vatican II were left feeling adrift and betrayed. In Unruly Catholics from Dante to Madonna, scholars of literature, film, religion, history, and sociology delve into this conflict and historically similar ones through the examination of narratives by and about rebellious Catholics. Essays in Unruly Catholics explore how renowned Catholic literary figures Dante Alighieri, Oscar Wilde, Graham Greene, Evelyn Waugh, and Gerard Manley Hopkins dealt with the disparities between their personal beliefs and the Church s official teachings. Contributors also suggest how controversial entertainers such as Madonna, Kevin Smith, Michael Moore, and Stephen Colbert practice forms of Catholicism perhaps worthy of respect. Most pointedly, Unruly Catholics addresses the recent sex abuse scandals, considers the possibility that the Church might be reformed from within, and presents three iconic figures Thomas Merton, Dorothy Day, and C.S. Lewis as models of compassionate and reformist Christianity."

When computers freeze, they are ""rebooted"" to help get things moving in the proper direction again. Similarly, legendary thinkers throughout history have argued that Christianity should start over fresh by recapturing the humanitarian spirit of Jesus' original message. These include such disparate individuals as Thomas Jefferson, Oscar Wilde, Charles Dickens, Walt Whitman, Friedrich Nietzsche, Leo Tolstoy, George Bernard Shaw, and the religious leaders of the OccupyWallStreet movement. Surprisingly enough, even classic television shows and films meant to be entertaining--Lost, Battlestar Galactica, It's a Wonderful Life, Groundhog Day, Decalogue, and A Charlie Brown Christmas--are attempts to apply the basic principles of Christianity to modern times. This book offers new essays by scholars of literature, film, history, theology and philosophy examining how various thinkers and storytellers over time have conceived of a reinvented Christianity. In confronting this controversial idea, this book examines how unorthodox interpretations of the Bible can be some of the most valid, how visions of Jesus as a revolutionary may be the most historically sound, and how compassionate Christians such as Origen have wrestled with the eternal questions of the existence of evil, the gift of free will and the promise of universal salvation.

Contributions by Phil Bevin, Blair Davis, Marc DiPaolo, Michele Fazio, James Gifford, Kelly Kanayama, Orion Ussner Kidder, Christina M. Knopf, Kevin Michael Scott, Andrew Alan Smith, and Terrence R. Wandtke In comic books, superhero stories often depict working-class characters who struggle to make ends meet, lead fulfilling lives, and remain faithful to themselves and their own personal code of ethics. Working-Class Comic Book Heroes: Class Conflict and Populist Politics in Comics examines working-class superheroes and other protagonists who populate heroic narratives in serialized comic books. Essayists analyze and deconstruct these figures, viewing their roles as fictional stand-ins for real-world blue-collar characters. Informed by new working-class studies, the book also discusses how often working-class writers and artists created these characters. Notably Jack Kirby, a working-class Jewish artist, created several of the most recognizable working-class superheroes, including Captain America and the Thing. Contributors weigh industry histories and marketing concerns as well as the fan community's changing attitudes towards class signifiers in superhero adventures. The often financially strapped Spider-Man proves to be a touchstone figure in many of these essays. Grant Morrison's Superman, Marvel's Shamrock, Alan Moore and David Lloyd's V for Vendetta, and The Walking Dead receive thoughtful treatment. While there have been many scholarly works concerned with issues of race and gender in comics, this book stands as the first to deal explicitly with issues of class, cultural capital, and economics as its main themes.

Superhero adventure comics have a long history of commenting upon American public opinion and government policy, and surge in the popularity of comics since the events of September 11, 2001, ensures their continued relevance. This critical text examines the seventy-year history of comic book superheroes on film and in comic books and their reflections of the politics of their time. Superheroes addressed include Batman, Wonder Woman, Spider-Man, Superman, the Invisible Woman and the X-Men, and topics covered include American wars, conflicts, and public policy.

In Japan and much of Europe, Ozu is widely considered to be one of the finest film directors who ever lived. While Ozu has a strong reputation in the West, his films are not as well-known or widely appreciated in the U.S. as they are elsewhere. A notable exception to this trend is film critic Roger Ebert, who recently wrote that Ozu is one of his "three or four" favorite directors. Also, moving beyond the view that Tokyo Story is a masterful exception in the Ozu canon, Ebert sees Ozu's films as "nearly always of the same high quality." Ozu International will reflect on Ebert's view of Ozu by arguing that this director deserves broader recognition in the U.S., and that his entire canon is worthy of serious study. With the recent release of more than 15 Ozu DVDs in the Criterion Collection, covering every phase of his career at least in part (including silent films, black-and-white talkies, and color films), Ozu International helps to fill a lingering gap in English-language scholarship on Ozu by giving this new generation of scholars a book-length forum to explore new critical perspectives on an unfairly neglected director. Contributions include specialists in Japanese culture, academics from a range of disciplines, and professional films critics.

Renowned for making films that are at once sly domestic satires and heartbreaking 'social realist' dramas, British writer-director Mike Leigh confronts his viewers with an un-romanticized dramatization of modern-day society in the hopes of inspiring them to strive for greater self-awareness and compassion for others. This collection features new, interdisciplinary essays that cover all phases of the BAFTA-award-winner's film career, from his early made-for-television film work to his theatrical releases, including Life is Sweet (1990), Naked (1993), Secrets & Lies (1996), Career Girls (1997), Topsy-Turvy (1999), All or Nothing (2002), Vera Drake (2004), Happy-Go-Lucky (2008) and Another Year (2010). With contributions from international scholars from a variety of fields, the essays in this collection cover individual films and the recurring themes and motifs in several films, such as representations of class and gender, and overt social commentary and political subtexts. Also covered are Leigh's visual stylizations and storytelling techniques ranging from explorations of the costume design to set design to the music and camerawork and editing; the collaborative process of 'devising and directing' a Mike Leigh film that involves character-building, world-construction, plotting, improvisations and script-writing; the process of funding and marketing for these seemingly 'uncommercial' projects, and a survey of Leigh's critical reception and the existing writing on his work.