Addressing the world of the imaginary, the dream, the uncanny, the paranormal, and all forms of speculative fiction, Contours of the Fantastic is a collection of twenty-two essays that were originally presented at the Eighth International Conference on the Fantastic in the Arts at Houston in 1987. The volume gives valuable perspectives on the territory covered by the fantastic, showing the diversity of the field and the variety of approaches used to survey and comprehend it. Each essay brings its own method of investigation--phenomenological, theoretical, historical, sociological, psychological, textual--in an effort to situate the border between reality and fantasy and the passage from one to the other. Authors and works discussed in the volume include Balzac, Dickens, Poe, Aldous Huxley, C. S. Lewis, Tolkien, Muriel Spark, Mary Shelley, Albee's The Zoo Story, Pynchon, Coleridge's Christabel, Le Fanu's "Carmilla," and Stephen Donaldson's Thomas Covenant trilogies. Following the editor's introductory essay, the work is divided into 7 sections: "Fantasy and Discontinuity," "Theory of National Fantasy--Tradition and Invention," "Fantastic Vision in Children's Literature," "Science Fiction and Fantasy Films," "Fusion, Transfusion, and Transgression in the Fantastic," "The Fantastic and Science," and "The Fantastic World--Space and Time." Individual essays within these major divisions zero in on specific works of fantasy; offer a psychology of fantasy writers; analyze language; assess fantasy from a national perspective; and investigate Christian horror in fiction. The final two sections delineate the border between fantasy and reality--in science and in relation to space and time. Amongthe outstanding contributors are Brian Aldiss, novelist, poet, and critic, author of more than two dozen books-- many of which are considered science fiction classics; Vivian Sobchack, science fiction film critic and writer on semiotics and phenomenology; and Nancy Willard, author of prize-winning novels, collected stories, poetry, and children's books. Generalists in literature and the arts, sociology, the natural sciences, engineering, and aeronautics as well as students and scholars, aestheticians, and critics of the fantasy/science fiction genres in literature, film, and art will find this collection both a useful and fascinating volume.

This seminal photography text, now in its 11th edition, has been revamped, reorganized, and modernized to include the most up-to-date and need-to-know information for photographers. Introducing all the key concepts and fundamentals of photography, this book is a must-have for any photographer’s bookcase.

Providing examples and practical information throughout to allow photographers to apply concepts to their own work, the text explains the fundamentals of photography in an accessible way. Fully updated to reflect the dynamic changes in the industry, this 11th edition includes expanded and updated content focusing on advances in camera technology and digital lighting, connecting with the global photography industry and professional networks through social media, updated images throughout, and a new chapter on new digital outputs.

Ideal as a foundational text for students of photography as well as a key reference for professionals.

Table of Contents

Foreword

Introduction

Picture Credits

Chapter 1. What is Photography?

Why Photography?

Changing Attitudes Toward Photography

Art and documentation

How Photography Works

Picture Structuring

The Roles Photographs Play

Personal Styles and Approaches

Measuring Success

Chapter 2. Light: How Images Are Formed

Light Itself

Wavelengths and Colors

Shadows

When Light Reaches a Surface

Light Intensity and Distance

Making Light form Images

Chapter 3. Lenses and Filters: Controlling the Image

Photographic Lenses

Aperture and f-numbers

Depth of Field

How Depth of Field Works

Depth of Focus

Using Different Focal Length Lenses, Camera Kits

Why Change Focal Length?

Lens Kits

Image Stabilization

Close-up Equipment

Lens Care

Essentials and Extras

Which Kit Works for You?

Filters – How They Work

Chapter 4. Cameras

The Essential Components

Camera Types – Which is Best?

Getting Started with Digital Cameras

Digital Cameras

Film Cameras

Chapter 5. Exposure Measurement

Factors that Determine What Exposure to Give

Measuring Exposure for Continuous Light

Practical Exposure Tips

Measuring Exposure for Flash

Practical Flash Exposure Tips

Exposing Different Film Types

Chapter 6. Organizing The Picture

Noticing Subject Features

Structuring Pictures Through the Camera

Where Photographs Go

Chapter 7. Lighting

Principles and Equipment

Basic Characteristics of Lighting

Lighting Equipment

Practical Lighting Problems

Special Subjects

Chapter 8. Digital Workflow

Before Making Your First Photographs

Capture

Downloading Your Photographs

Processing Raw Files

Digitizing Film

Image processing for output

Archiving

Chapter 9. Digital Postproduction

Photoshop

Working with Color and Contrast

Color

Retouching Tools

The Crop Tool (C)

Composite Images with Photomerge

Actions

Useful Photoshop Shortcuts

Chapter 10. Film and Film Processing

Silver Halide Emulsions

Features Common to all Films

Choosing Films for Black and White

Films for Color Photography

Storing Film – Before and After Exposure

So Which Film is “Best”?

Film Processing

Processing Black and White (Silver Image) Negatives

Processing Chromogenic (Color and Black and White) Negatives

Processing Color Slides and Transparencies

Permanence of Processed Results

Chapter 11. Black and White Printing: Techniques, Equipment, and Facilities

Making a Print

Printing Papers

Safelighting and Printing Paper Sensitivity

Developing Prints

Making Contact Prints

“Straight” Enlarging

Controls During Enlarging

Common Print Faults

Variations

Chemical Afterwork

Retouching

Toning

Tinting

Etching

Image Reduction and Bleach-Out

Permanence and Archiving

Darkroom Organization

Equipment: The Enlarger

Chapter 12. Moving Image and Photography

Introduction

Approaching Moving Images

Moving Image Essentials

Working for Offline and Online Screen Display

Capturing and Remapping Time with Time-lapse Photography

Basic Time-Lapse Photography Production

Shooting Mirrorless and DSLR Video

Animated GIFs and Derivatives

Chapter 13. Finishing and Presenting Work

The Permanence of Prints

Mounting Methods and Framing

Spotting/Retouching

Getting your Work Noticed

Pictures on the Internet

Building your Own Site

Chapter 14. The Expanded Digital Photography Field

Introduction

Digital Processing and Computer Generated Images

The non-visible spectrum and spectral capture

2.5 and 3D Reconstruction

Appendices

Appendix A: Optical Calculations

Appendix B: Camera Movements

Appendix C: Expressing film response

Appendix D: Chemical formulae

Appendix E: Health and Safety concerns

Appendix F: Digital Notebook

Appendix G: Photography timeline

Glossary

Langford's Advanced Photography is the only advanced photography guide a serious student or aspiring professional will ever need. In this eighth edition, Efthimia Bilissi continues in the footsteps of Michael Langford by combining an unrivalled level of technical detail with a straightforward writing style while simultaneously bringing the text firmly in to the digital era.This book covers the entire photographic process from a technical standpoint - not only detailing the 'how' but also explaining the 'why' that is so often missing from photography texts. From the workings of cameras, lenses, digital imaging sensors and software to new hot topics such as HDR imaging, digital asset management, and even running your own photography business, everything a serious photographer could need to extend their art into professional realms is covered.The book also benefits from a full glossary, charts and inspirational full color images throughout, with summaries and projects at the end of each chapter to reinforce the theory.

Langford's Advanced Photography is the only advanced photography guide a serious student or aspiring professional will ever need. In this eighth edition, Efthimia Bilissi continues in the footsteps of Michael Langford by combining an unrivalled level of technical detail with a straightforward writing style while simultaneously bringing the text firmly in to the digital era.

This book covers the entire photographic process from a technical standpoint - not only detailing the 'how' but also explaining the 'why' that is so often missing from photography texts. From the workings of cameras, lenses, digital imaging sensors and software to new hot topics such as HDR imaging, digital asset management, and even running your own photography business, everything a serious photographer could need to extend their art into professional realms is covered.

The book also benefits from a full glossary, charts and inspirational full color images throughout, with summaries and projects at the end of each chapter to reinforce the theory.

Table of Contents

Introduction; Chapter 1 Colour in photography; Chapter 2 Camera equipment; Chapter 3 Choosing lenses; Chapter 4 Lighting control; Chapter 5 Tone control; Chapter 6 Image sensors; Chapter 7 Digital imaging systems; Chapter 8 Digital image management and manipulation; Chapter 9 Films — types and technical data; Chapter 10 Film processing management and colour printing; Chapter 11 Extending photography; Chapter 12 Subjects; Chapter 13 Reproduction and archiving; Chapter 14 Professional photography; Chapter 15 Business practice; Appendices; Glossary; Index;

From bleak expressionist works to the edgy political works of the New German Cinema to the feel-good "Heimat" films of the postwar era, "Directory of World Cinema: Germany" aims to offer a wider film and cultural context for the films that have emerged from Germany--including some of the East German films recently made available to Western audiences for the first time. With contributions by leading academics and emerging scholars in the field, this volume explores the key directors, themes, and periods in German film history, and demonstrates how genres have been adapted over time to fit historical circumstances. Rounding out this addition to the Directory of World Cinema series are fifty full-color stills, numerous reviews and recommendations, and a comprehensive filmography.

Embodying Youth: Exploring Youth Ministry and Disability seeks to help close the gap between disability theology and youth ministry education. What is youth ministry? And who is it for? Christian youth workers and ministers in the West have been answering these questions either implicitly or explicitly for decades. The ways we answer these questions, and the ways in which we go about answering them, have huge implications with regards to the faithfulness and effectiveness of the church's ministry with young people. These questions have not always been pursued with the experience of disability in mind. In fact, it is often excluded, not only from the academic field but from the church's practice of youth ministry as well. In this book, scholars and youth workers seek to attend to the questions of youth ministry by putting the experience of disability at the forefront, with hope not only that the church might include young people with disabilities, but also that our very understanding of what youth ministry is, and who youth ministry is for might be transformed, for the sake of the gospel. This book was originally published as a special issue of the Journal of Disability & Religion.

Iranian filmmakers have long been recognised for creating a vibrant, aesthetically rich cinema whilst working under strict state censorship regulations. As Michelle Langford reveals, many have found indirect, allegorical ways of expressing forbidden topics and issues in their films. But for many, allegory is much more than a foil against haphazardly applied censorship rules. Drawing on a long history of allegorical expression in Persian poetry and the arts, allegory has become an integral part of the poetics of Iranian cinema. Allegory in Iranian Cinema explores the allegorical aesthetics of Iranian cinema, explaining how it has emerged from deep cultural traditions and how it functions as a strategy for both supporting and resisting dominant ideology. As well as tracing the roots of allegory in Iranian cinema before and after the 1979 revolution, Langford also theorizes this cinematic mode. She draws on a range of cinematic, philosophical and cultural concepts - developed by thinkers such as Walter Benjamin, Gilles Deleuze, Pier Paolo Pasolini, Christian Metz and Vivian Sobchack - to provide a theoretical framework for detailed analyses of films by renowned directors of the pre-and post-revolutionary eras including Masoud Kimiai, Dariush Mehrjui, Ebrahim Golestan, Kamran Shirdel, Majid Majidi, Jafar Panahi, Marziyeh Meshkini, Mohsen Makhmalbaf, Rakhshan Bani-Etemad and Asghar Farhadi. Allegory in Iranian Cinema explains how a centuries-old means of expression, interpretation, encoding and decoding becomes, in the hands of Iran's most skilled cineastes, a powerful tool with which to critique and challenge social and cultural norms.

Given all that we now know about the world and mankind, in what way might God be said to have any influence at all on nature, man and history? How can the hope and confidence expressed in prayer be reconciled with the research of the scientist, psychologist and sociologist? These are the important questions with which Professor Langford deals in his book. He begins by exploring three more specific issues. What kind of guidance or intervention is alleged to be involved in claims about providence? Is the claim that providence is at work in any sense an empirical claim? How can any intervention or involvement be attributed to the timeless and passionless God of the Christian tradition? He then reviews the historical background to modern discussion about providence, and illustrates the typical use of the concept by five analogies: the sun, the wind, the tide, space-time and human action. This leads him to explore special questions about the possible working of God in the different orders of the natural world, the human world and history. Finally, having explored the basic grammar of the concept of providence, he faces the fundamental questions of the coherence and validity of the concept in the twentieth century. He concludes that, for all the difficulties, a case can be made out for both general and special providence.

An all-encompassing account of Christian attitudes and sources of attitudes to marriage, traced through Near Eastern, Classical and Biblical histories, suitable for the student or lay trainer wishing to know more than an Alpha course. It covers all aspects of marriage- including the on going debate surrounding same sex unions. Peter Coleman, was the author of 'Christian attitudes to Homosexuality', 'A christian attitude towards televsion', and 'experiments with prayer'. Following his tragic death in 2001, when this work was left incomplete, 'Christian attitudes to marriage', is brought to us by the hard work of his family and close friends, particularly Dr Michael Langfor

Iranian filmmakers have long been recognised for creating a vibrant, aesthetically rich cinema whilst working under strict state censorship regulations. As Michelle Langford reveals, many have found indirect, allegorical ways of expressing forbidden topics and issues in their films. But for many, allegory is much more than a foil against haphazardly applied censorship rules. Drawing on a long history of allegorical expression in Persian poetry and the arts, allegory has become an integral part of the poetics of Iranian cinema. Allegory in Iranian Cinema explores the allegorical aesthetics of Iranian cinema, explaining how it has emerged from deep cultural traditions and how it functions as a strategy for both supporting and resisting dominant ideology. As well as tracing the roots of allegory in Iranian cinema before and after the 1979 revolution, Langford also theorizes this cinematic mode. She draws on a range of cinematic, philosophical and cultural concepts - developed by thinkers such as Walter Benjamin, Gilles Deleuze, Pier Paolo Pasolini, Christian Metz and Vivian Sobchack - to provide a theoretical framework for detailed analyses of films by renowned directors of the pre-and post-revolutionary eras including Masoud Kimiai, Dariush Mehrjui, Ebrahim Golestan, Kamran Shirdel, Majid Majidi, Jafar Panahi, Marziyeh Meshkini, Mohsen Makhmalbaf, Rakhshan Bani-Etemad and Asghar Farhadi. Allegory in Iranian Cinema explains how a centuries-old means of expression, interpretation, encoding and decoding becomes, in the hands of Iran's most skilled cineastes, a powerful tool with which to critique and challenge social and cultural norms.