The films of Billy Wilder, from Double Indemnity to Some Like It Hot, are American classics created by a brilliant Austrian in love with his newfound country. This is a re-examination of the key American films of Wilder, often challenging previous readings of his filmmaking style and personality, emphasizing the pop-cultural, film-historical, and sociohistorical content of well known films like Sunset Boulevard and less frequently remembered ones, like The Fortune Cookie. The book interprets Wilder as more than the ""cocky little Viennese"" or ""closet Romantic"" stereotypes often attached to him. Here the student will find provocative analysis and the enthusiast will find evocative commentary on one of the most important figures in American film. Photographs add to the text, and a complete filmography and bibliography are also included. Fully indexed.

The first in-depth study of its subject, this book seeks to historically account for a type of modernist film that revolves around bereavement. Identifying the roots of the genre in classical melodrama and horror cinema, and tracing perennial themes and aesthetic devices through to the European and American ""intellectual melodramas"" of the postwar decades, the book provides a taxonomy of characteristics. In the course of detailed case studies, the book deploys the film theory of Gilles Deleuze and Daniel Frampton while making use of Freudian psychoanalysis and present-day grief counselling theory. In making its case for the new genre, the book reflects upon the ways in which the very notion of genre has, in the post-classical period, responded to changing exhibition patterns, the rise of domestic spectatorship, and the proliferation of Web-based film literature.

What if Ayrton Senna had survived his Imola 1994 accident? What if Gilles Villeneuve hadn't died at Zolder in 1982? What if Stirling Moss hadn't crashed at Goodwood in 1962? What if Alberto Ascari had survived his 1955 testing-accident at Monza? This book explores those rivalries by assuming that drivers' injuries from crashes were not fatal, and pits the drivers up against their peers once more.

Translation studies can be situated as either a complementary field or an aspect of classical receptions, but there are certaindifficulties in how translation studies can be suitably adapted for importation into classical studies; difficulties which are not currently addressed in a systematic form for graduate students or researchers wishing to gain a comprehensive orientation to classics studies. The proposed Companion would address these difficulties by providing the first systematic work to translation studies as applied to classics. The proposed Companion attempts to address this lack by providing the first systematic work that would both orient the new-comer to translation studies as applied to classics and provide exemplary, state-of-the-art discussions and case studies on how translation is a central element in reception.