Noted for his charisma, talent, and striking good looks, director Rex Ingram (1893-1950) is ranked alongside D. W. Griffith, Marshall Neilan, and Erich von Stroheim as one of the greatest artists of the silent cinema. Ingram briefly studied sculpture at the Yale University School of Art after emigrating from Ireland to the United States in 1911; but he was soon seduced by the new medium of moving pictures and abandoned his studies for a series of jobs in the film industry. Over the next decade, he became one of the most popular directors in Hollywood, directing smash hits such as The Four Horsemen of the Apocalypse (1921), The Prisoner of Zenda (1922), and Scaramouche (1923).

In Rex Ingram, Ruth Barton explores the life and legacy of the pioneering filmmaker, following him from his childhood in Dublin to his life at the top of early Hollywood's A-list and his eventual self-imposed exile on the French Riviera. Ingram excelled in bringing visions of adventure and fantasy to eager audiences, and his films made stars of actors like Rudolph Valentino, Ram?n Novarro, and Alice Terry -- his second wife and leading lady. With his name a virtual guarantee of box office success, Ingram's career flourished in the 1920s despite the constraints of an increasingly regulated industry and the hostility of Louis B. Mayer, who regarded him as a dangerous maverick.

Barton examines the virtuoso director's career and controversial personal life -- including his conversion to Islam, the rumors surrounding his ambiguous sexuality, and the circumstances of his untimely death. This definitive biography not only restores the visionary filmmaker to the spotlight but also provides an absorbing look at the daring and exhilarating days of silent-era Hollywood.

An accessible, comprehensive overview of contemporary Irish cinema, this book is intended for use as a third-level textbook and is designed to appeal to academics in the areas of film studies and Irish studies. Responding to changes in the Irish production environment, it includes chapters on new Irish genres such as creative documentary, animation and horror. It discusses shifting representations of the countryside and the city, always with a strong concern for gender representations, and looks at how Irish historical events, from the Civil War to the Troubles, and the treatment of the traumatic narrative of clerical sexual abuse have been portrayed in recent films. It covers works by established auteurs such as Neil Jordan and Jim Sheridan, as well as new arrivals, including the Academy Award-winning Lenny Abrahamson. -- .

Despite their name, the silent films of the early cinematic era were frequently accompanied by music and other sound elements of many kinds, including mechanical instruments, live performers, and audience sing-alongs. The 12 chapters in this concise book explore the multitude of functions filled by music in the rapidly changing context of the silent film era, as the concept of cinema itself developed. Examples are drawn from around the globe and across the history of silent film, both during the classic era of silent film and later uses of the silent format. With contributors drawn from film studies and music disciplines, and including both senior and emerging scholars, Music and Sound in Silent Film offers an essential introduction to the origins of film music and the cinematic art form.

From the international successes of Neil Jordan and Jim Sheridan, to the smaller productions of the new generation of Irish filmmakers, the recent flowering of Irish cinema may be seen as a symbol of the nation's emergence from the backwaters of twentieth century culture into the mainstream of the global economy. In a country where the modern has been long regarded as a source of suspicion, cinema has occupied a fraught position within Irish society. Attacked by the Church for its detrimental influence on the faithful, regarded by the left as a tool of capitalism and by the Republican movement as a weapon of imperialism, it provided the battleground for the competing discourses within the emergent State during the early years of the twentieth century. At the same time, for the emigrant Irish, particularly of Britain and America, the cinema articulated, responded to and fashioned their experiences of departure and arrival.Irish National Cinema argues that in order to understand the unique position of filmmaking in Ireland and the inheritance on which contemporary filmmakers draw, definitions of the Irish culture and identity must take into account the so-called Irish diaspora and en

Hedy Lamarr's life was punctuated by salacious rumors and public scandal, but it was her stunning looks and classic Hollywood glamour that continuously captivated audiences. Born Hedwig Kiesler, she escaped an unhappy marriage with arms dealer Fritz Mandl in Austria to try her luck in Hollywood, where her striking appearance made her a screen legend. Her notorious nude role in the erotic Czech film Ecstasy (1933), as well as her work with Cecil B. DeMille ( Samson and Delilah, 1949), Walter Wanger ( Algiers, 1938), and studio executive Louis B. Mayer catapulted her alluring and provocative reputation as a high-profile sex symbol. In Hedy Lamarr: The Most Beautiful Woman in Film, Ruth Barton explores the many facets of the screen legend, including her life as an inventor. Working with avant-garde composer and film scorer George Antheil, Lamarr helped to develop and patent spread spectrum technology, which is still used in mobile phone communication. However, despite her screen persona and scientific success, Lamarr's personal life caused quite a scandal. A string of failed marriages, a lawsuit against her publisher regarding her sensational autobiography, and shoplifting charges made her infamous beyond her celebrity. Drawing on extensive research into both the recorded truths of Lamarr's life and the rumors that made her notorious, Barton recognizes Lamarr's contributions to both film and technology while revealing the controversial and conflicted woman underneath. Hedy Lamarr: The Most Beautiful Woman in Film illuminates the life of a classic Hollywood icon.

From the international successes of Neil Jordan and Jim Sheridan, to the smaller productions of the new generation of Irish filmmakers, the recent flowering of Irish cinema may be seen as a symbol of the nation's emergence from the backwaters of twentieth century culture into the mainstream of the global economy. In a country where the modern has been long regarded as a source of suspicion, cinema has occupied a fraught position within Irish society. Attacked by the Church for its detrimental influence on the faithful, regarded by the left as a tool of capitalism and by the Republican movement as a weapon of imperialism, it provided the battleground for the competing discourses within the emergent State during the early years of the twentieth century. At the same time, for the emigrant Irish, particularly of Britain and America, the cinema articulated, responded to and fashioned their experiences of departure and arrival.Irish National Cinema argues that in order to understand the unique position of filmmaking in Ireland and the inheritance on which contemporary filmmakers draw, definitions of the Irish culture and identity must take into account the so-called Irish diaspora and en

Despite their name, the silent films of the early cinematic era were frequently accompanied by music and other sound elements of many kinds, including mechanical instruments, live performers, and audience sing-alongs. The 12 chapters in this concise book explore the multitude of functions filled by music in the rapidly changing context of the silent film era, as the concept of cinema itself developed. Examples are drawn from around the globe and across the history of silent film, both during the classic era of silent film and later uses of the silent format. With contributors drawn from film studies and music disciplines, and including both senior and emerging scholars, Music and Sound in Silent Film offers an essential introduction to the origins of film music and the cinematic art form.

It used to be that a woman's choices were fairly simple: she went to school, got married, stayed married to the same man - for better or worse - and raised children. Standards of conduct and morality were widely accepted, and generally we knew what was expected. This is no longer the case. Today we can have a career, full-time or part-time, at home or away from home, or we can focus our energy and time solely on family and volunteer work. We can get married or stay single, have children - the 'regular way' or through adoption - or not. But choices do not necessarily make life easier - they often make life more difficult, because they produce guilt, self-doubt and stress. With compassion and insight Ruth Haley Barton identifies the pressure exerted on Christian women - by church, culture and from within - and the radical call of Christ to each of us to be free. Exploring eleven freedoms available in Jesus, she shows how Christian women can respond to the genuinely liberating call of Christ on their lives.

An accessible, comprehensive overview of contemporary Irish cinema, this book is intended for use as a third-level textbook and is designed to appeal to academics in the areas of film studies and Irish studies. Responding to changes in the Irish production environment, it includes chapters on new Irish genres such as creative documentary, animation and horror. It discusses shifting representations of the countryside and the city, always with a strong concern for gender representations, and looks at how Irish historical events, from the Civil War to the Troubles, and the treatment of the traumatic narrative of clerical sexual abuse have been portrayed in recent films. It covers works by established auteurs such as Neil Jordan and Jim Sheridan, as well as new arrivals, including the Academy Award-winning Lenny Abrahamson. -- .

In 1864, amid headline-grabbing heresy trials, members of the British Association for the Advancement of Science were asked to sign a declaration affirming that science and scripture were in agreement. Many criticized the new test of orthodoxy; nine decided that collaborative action was required. The X Club tells their story. These six ambitious professionals and three wealthy amateurs--J. D. Hooker, T. H. Huxley, John Tyndall, John Lubbock, William Spottiswoode, Edward Frankland, George Busk, T. A. Hirst, and Herbert Spencer--wanted to guide the development of science and public opinion on issues where science impinged on daily life, religious belief, and politics. They formed a private dining club, which they named the X Club, to discuss and further their plans. As Ruth Barton shows, they had a clear objective: they wanted to promote "scientific habits of mind," which they sought to do through lectures, journalism, and science education. They devoted enormous effort to the expansion of science education, with real, but mixed, success. For twenty years, the X Club was the most powerful network in Victorian science--the men succeeded each other in the presidency of the Royal Society for a dozen years. Barton's group biography traces the roots of their success and the lasting effects of their championing of science against those who attempted to limit or control it, along the way shedding light on the social organization of science, the interactions of science and the state, and the places of science and scientific men in elite culture in the Victorian era.

A series of essays considering the nature and direction of Irish film and television. Topics cover the 'Roy Keane' affair, the first Irish-language soap opera, the New Irish Gangsters, Irish identity post September eleventh, images of Belfast in contemporary Irish cinema and female punishment in Irish history and culture. "Keeping it Real" appeals to those interested in Irish film, media and cultural studies. It reflects the innovative popular and academic desire to extend the notion of Irishness to include not only the inhabitants of the state but also the wider diaspora. Particularly focusing on the diaspora of Great Britain and North America the book questions issues of national identity and ethnicity. Films discussed include "Odd Man Out, The Boxer, Nothing Personal, I Went Down, Ryan's Daughter" and "Resurrection Man,"

The book also features an interview with actor Stephen Rea

A series of essays considering the nature and direction of Irish film and television. Topics cover the 'Roy Keane' affair, the first Irish-language soap opera, the New Irish Gangsters, Irish identity post September eleventh, images of Belfast in contemporary Irish cinema and female punishment in Irish history and culture. "Keeping it Real" appeals to those interested in Irish film, media and cultural studies. It reflects the innovative popular and academic desire to extend the notion of Irishness to include not only the inhabitants of the state but also the wider diaspora. Particularly focusing on the diaspora of Great Britain and North America the book questions issues of national identity and ethnicity. Films discussed include "Odd Man Out, The Boxer, Nothing Personal, I Went Down, Ryan's Daughter" and "Resurrection Man,"

The book also features an interview with actor Stephen Rea

Hedy Lamarr's life was punctuated by salacious rumors and public scandal, but it was her stunning looks and classic Hollywood glamour that continuously captivated audiences. Born Hedwig Kiesler, she escaped an unhappy marriage with arms dealer Fritz Mandl in Austria to try her luck in Hollywood, where her striking appearance made her a screen legend. Her notorious nude role in the erotic Czech film Ecstasy (1933), as well as her work with Cecil B. DeMille (Samson and Delilah, 1949), Walter Wanger (Algiers, 1938), and studio executive Louis B. Mayer catapulted her alluring and provocative reputation as a high-profile sex symbol. In Hedy Lamarr: The Most Beautiful Woman in Film, Ruth Barton explores the many facets of the screen legend, including her life as an inventor. Working with avant-garde composer and film scorer George Antheil, Lamarr helped to develop and patent spread spectrum technology, which is still used in mobile phone communication. However, despite her screen persona and scientific success, Lamarr's personal life caused quite a scandal. A string of failed marriages, a lawsuit against her publisher regarding her sensational autobiography, and shoplifting charges made her infamous beyond her celebrity. Drawing on extensive research into both the recorded truths of Lamarr's life and the rumors that made her notorious, Barton recognizes Lamarr's contributions to both film and technology while revealing the controversial and conflicted woman underneath. Hedy Lamarr: The Most Beautiful Woman in Film illuminates the life of a classic Hollywood icon.

The first academic study of Irish film stars in Hollywood, "Acting Irish in Hollywood" contains ten essays on leading Irish stars: Barry Fitzgerald, George Brent, Maureen O'Sullivan, Maureen O'Hara, Constance Smith, Richard Harris, Stephen Rea, Gabriel Byrne, Pierce Brosnan and Colin Farrell. Drawing on theories of emigration, ethnicity, gender and performance, this study is both analytical and historical. It discusses the reception of these actors in America and the kind of roles they have played, paying particular attention to the history and evolution of the Irish stereotype in Hollywood cinema. Drawing on press reviews, interviews and studio publicity, we see how these actors were promoted and how they used the media to create images of themselves. Many of them have also enjoyed and continue to enjoy careers in Ireland, on stage and screen. How different were these performances? What is the relationship between Irish stage and screen? How has local Irish film making benefited from the international fame enjoyed by these actors? Why has it been so much easier for male stars to succeed in Hollywood? All these questions are addressed in "Acting Irish in Hollywood", which also aims to remind readers of Ireland's forgotten film stars, particularly George Brent and Constance Smith.