The worldwide spread, diversification, and globalization of the English language in the course of the twentieth and early twenty-first centuries has significant implications for English Language Teaching and teacher education. We are currently witnessing a paradigm shift towards Teaching English as an International Language (TEIL) that aims to promote multilingualism and awareness of the diversity of Englishes, increase exposure to this diversity, embrace multiculturalism, and foster cross-cultural awareness. Numerous initiatives that embrace TEIL can be observed around the world, but ELT and teacher education in Germany (and other European countries) appear to be largely unaffected by this development, with standard British and American English and the monolingual native speaker (including the corresponding cultural norms) still being very much at the center of attention. The present volume addresses this gap and is the first of its kind to showcase recent initiatives that aim at introducing TEIL into ELT and teacher education in Germany, but which have applicability and impact for other countries with comparable education systems and ‘traditional’ ELT practices in the Expanding Circle. The chapters in this book provide a balanced mix of conceptual, empirical, and practical studies and offer the perspectives of the many stakeholders involved in various settings of English language education whose voices have not often been heard, i.e., students, university lecturers, trainee teachers, teacher educators, and in-service teachers. It therefore adds significantly to the limited amount of previous work on TEIL in Germany and bridges the gap between theory and practice that will not only be relevant for researchers, educators, and practitioners in English language education in Germany but other educational settings that are still unaffected by the shift towards TEIL.

The Routledge Companion to New Cinema History presents the most recent approaches and methods in the study of the social experience of cinema, from its origins in vaudeville and traveling exhibitions to the multiplexes of today. Exploring its history from the perspective of the cinemagoer, the study of new cinema history examines the circulation and consumption of cinema, the political and legal structures that underpinned its activities, the place that it occupied in the lives of its audiences and the traces that it left in their memories. Using a broad range of methods from the statistical analyses of box office economics to ethnography, oral history, and memory studies, this approach has brought about an undisputable change in how we study cinema, and the questions we ask about its history. This companion examines the place, space, and practices of film exhibition and programming; the questions of gender and ethnicity within the cinematic experience; and the ways in which audiences gave meaning to cinemagoing practices, specific films, stars, and venues, and its operation as a site of social and cultural exchange from Detroit and Laredo to Bandung and Chennai. Contributors demonstrate how the digitization of source materials and the use of digital research tools have enabled them to map previously unexplored aspects of cinema's business and social history and undertake comparative analysis of the diversity of the social experience of cinema across regional, national, and continental boundaries. With contributions from leading scholars in the field, The Routledge Companion to New Cinema History enlarges and refines our understanding of cinema's place in the social history of the twentieth century.

The worldwide spread, diversification, and globalization of the English language in the course of the twentieth and early twenty-first centuries has significant implications for English Language Teaching and teacher education. We are currently witnessing a paradigm shift towards Teaching English as an International Language (TEIL) that aims to promote multilingualism and awareness of the diversity of Englishes, increase exposure to this diversity, embrace multiculturalism, and foster cross-cultural awareness. Numerous initiatives that embrace TEIL can be observed around the world, but ELT and teacher education in Germany (and other European countries) appear to be largely unaffected by this development, with standard British and American English and the monolingual native speaker (including the corresponding cultural norms) still being very much at the center of attention. The present volume addresses this gap and is the first of its kind to showcase recent initiatives that aim at introducing TEIL into ELT and teacher education in Germany, but which have applicability and impact for other countries with comparable education systems and 'traditional' ELT practices in the Expanding Circle. The chapters in this book provide a balanced mix of conceptual, empirical, and practical studies and offer the perspectives of the many stakeholders involved in various settings of English language education whose voices have not often been heard, i.e., students, university lecturers, trainee teachers, teacher educators, and in-service teachers. It therefore adds significantly to the limited amount of previous work on TEIL in Germany and bridges the gap between theory and practice that will not only be relevant for researchers, educators, and practitioners in English language education in Germany but other educational settings that are still unaffected by the shift towards TEIL.

This book sheds new light on the cinema and modernity debate by confronting established theories on the role of the modern cinematic experience with new empirical work on the history of the social experience of cinema-going, film audiences and film exhibition.

The book provides a wide range of research methodologies and perspectives on these matters, including:

• the use of oral history methods
• questionnaires
• diaries
• audience letters
• as well as industrial, sociological and other accounts on historical film audiences.

The collection s case studies thus provide a "how to" compendium of current methodologies for researchers and students working on film and media audiences, film and media experiences, and historical reception.

The volume is part of a new cinema history effort within film and screen studies to look at film history not only as a history of production, textual relations or movies-as-artefacts, but rather to concentrate more on the receiving end, the social experience of cinema, and the engagement of film/cinema (history) from below . The contributions to the volume reflect upon the very different ways in which cinema has been accepted, rejected or disciplined as an agent of modernity in neighbouring parts of Europe, and how cinema-going has been promoted and regulated as a popular social practice at different times in twentieth-century European history.

This book sheds new light on the cinema and modernity debate by confronting established theories on the role of the modern cinematic experience with new empirical work on the history of the social experience of cinema-going, film audiences and film exhibition.

The book provides a wide range of research methodologies and perspectives on these matters, including:

• the use of oral history methods
• questionnaires
• diaries
• audience letters
• as well as industrial, sociological and other accounts on historical film audiences.

The collection's case studies thus provide a "how to" compendium of current methodologies for researchers and students working on film and media audiences, film and media experiences, and historical reception.

The volume is part of a 'new cinema history' effort within film and screen studies to look at film history not only as a history of production, textual relations or movies-as-artefacts, but rather to concentrate more on the receiving end, the social experience of cinema, and the engagement of film/cinema (history) 'from below'. The contributions to the volume reflect upon the very different ways in which cinema has been accepted, rejected or disciplined as an agent of modernity in neighbouring parts of Europe, and how cinema-going has been promoted and regulated as a popular social practice at different times in twentieth-century European history.

Cinema in the Arab world has been the subject of varied and rigorous studies, but most have focused on films as text, providing in-depth analyses of plot, style, ideologies, or examination of the biographies of prominent directors or actors. This innovative new volume shifts the focus on Arab cinema off-screen, to examine the histories, politics, and conditions of distribution, exhibition, and cinema-going in the Arab world. Through broadening the frame of study beyond the screen, the book widens understanding of the cinema, not merely as a collection of films-as-texts, but as a site of cultural and political contestation in the Arab world. Divided into two sections, and guided by interdisciplinary considerations, the contributors examine historical and contemporary issues of Arab cinema in terms of the experience of movie-going and filmmaking. They examine the networks of distribution and exhibition, as well as the contested and multiple meanings that the cinema embodied through diverse historical periods and geographical locations. Part I focuses on new histories of Arab cinema in terms of film production, distribution, exhibition and audience's experiences of cinema-going. Part II deals with more recent issues within scholarship on Arab cinema such as issues of politics, economics, ideologies, as well as issues related to Arab movies' international circulation and screenings at festivals. Together, the chapters enrich our understanding of the cinema in the Arab world, showing how deeply embedded it is within its social, political, and economic contexts.

The Routledge Companion to New Cinema History presents the most recent approaches and methods in the study of the social experience of cinema, from its origins in vaudeville and traveling exhibitions to the multiplexes of today. Exploring its history from the perspective of the cinemagoer, the study of new cinema history examines the circulation and consumption of cinema, the political and legal structures that underpinned its activities, the place that it occupied in the lives of its audiences and the traces that it left in their memories. Using a broad range of methods from the statistical analyses of box office economics to ethnography, oral history, and memory studies, this approach has brought about an undisputable change in how we study cinema, and the questions we ask about its history. This companion examines the place, space, and practices of film exhibition and programming; the questions of gender and ethnicity within the cinematic experience; and the ways in which audiences gave meaning to cinemagoing practices, specific films, stars, and venues, and its operation as a site of social and cultural exchange from Detroit and Laredo to Bandung and Chennai. Contributors demonstrate how the digitization of source materials and the use of digital research tools have enabled them to map previously unexplored aspects of cinema's business and social history and undertake comparative analysis of the diversity of the social experience of cinema across regional, national, and continental boundaries. With contributions from leading scholars in the field, The Routledge Companion to New Cinema History enlarges and refines our understanding of cinema's place in the social history of the twentieth century.