This book offers a diverse and groundbreaking account of the intersections between modernities and environments in the circumpolar global North, foregrounding the Arctic as a critical space of modernity, where the past, present, and future of the planet's environmental and political systems are projected and imagined. Investigating the Arctic region as a privileged site of modernity, this book articulates the globally significant, but often overlooked, junctures between environmentalism and sustainability, indigenous epistemologies and scientific rhetoric, and decolonization strategies and governmentality. With international expertise made easily accessible, readers can observe and understand the rise and conflicted status of Arctic modernities, from the nineteenth century polar explorer era to the present day of anthropogenic climate change.

Beginning with Robert Flaherty's Nanook of the North (1922), the majority of films that have been made in, about, and by filmmakers from the Arctic region have been documentary cinema. Focused on a hostile environment that few people visit, these documentaries have heavily shaped ideas about the contemporary global Far North. In Arctic Cinemas and the Documentary Ethos, contributors from a variety of scholarly and artistic backgrounds come together to provide a comprehensive study of Arctic documentary cinemas from a transnational perspective. This book offers a thorough analysis of the concept of the Arctic as it is represented in documentary filmmaking, while challenging the notion of "The Arctic" as a homogenous entity that obscures the environmental, historical, geographic, political, and cultural differences that characterize the region. By examining how the Arctic is imagined, understood, and appropriated in documentary work, the contributors argue that such films are key in contextualizing environmental, indigenous, political, cultural, sociological, and ethnographic understandings of the Arctic, from early cinema to the present. Understanding the role of these films becomes all the more urgent in the present day, as conversations around resource extraction, climate change, and sovereignty take center stage in the Arctic's representation.

Four university friends visit Jerusalem and return home sharing a secret which will change their lives and those under their influence. After his father’s death, and before taking up his own place at university in Edinburgh, the son of one of the four finds himself at the centre of a dangerous quest. Evil swirls aroundhim as he encounters a mystical ferryman with superhuman strength, a strikingly beautiful girl who befriends him, his father’s contemporaries who he meets for the first time, and a professional assassin employed by one of them to kill him. In a race against time, and in his naivety unable clearly to distinguish between friend and foe, he receives his father’s sole legacy, a box apparently only containing a candle. The quest takes him to Jerusalem and Southern France; to Whitby, the Hebrides, Walsingham and the Norfolk salt marshes. ‘Something almost lost to the world remains’.

Ideas of national identity, nationalism and transnationalism are now a central feature of contemporary film studies, as well as primary concerns for film-makers themselves. Embracing a range of national cinemas including Scotland, Poland, France, Turkey, Indonesia, India, Germany and America, Cinema and Nation considers the ways in which film production and reception are shaped by ideas of national belonging and examines the implications of globalisation for the concept of national cinema.
In the first three Parts, contributors explore sociological approaches to nationalism, challenge the established definitions of 'national cinema', and consider the ways in which states - from the old Soviet Union to contemporary Scotland - aim to create a national culture through cinema. The final two Parts address the diverse strategies involved in the production of national cinema and consider how images of the nation are used and understood by audiences both at home and abroad.

This reference provides thorough and in-depth coverage of the latest production and processing technologies encountered in the aluminum alloy industry, discussing current analytical methods for aluminum alloy characterization as well as extractive metallurgy, smelting, master alloy formation, and recycling. The Handbook of Aluminum: Volume 2 examines environmental pollution and toxicity in each stage of aluminum alloy production and metal processing, illustrates microstructure evolution modeling, and describes work hardening, recovery, recrystallization, and grain growth. The authors cover potential applications of various aluminum intermetallics, recent surface modification techniques, and types and causes of aluminum alloy corrosion.

In Cinema and Nation leading film scholars, philosophers and sociologists consider ways in which film production and reception are shaped by ideas of national identity and belonging. The contributors discuss a wide range of cinemas, in Europe, Asia and the Americas, exploring the relationship between film policy and film cultures, and examining the implications of globalization and the reconfiguration of nation states for both the concept and the reality of national cinema. The sections cover: Sociological approaches to national identity * preconceptions about 'national' cinema * nation states efforts to create national culture through cinema * productions strategies of national cinema * readings by audiences both at home and abroad.

This one-of-a-kind reference examines conventional and advanced methodologies for the quantitative evaluation of properties and characterization of microstructures in metals. It presents methods for uncovering valuable information including precipitate mechanisms, kinetics, stability, crystallographic orientation, the effects of thermo-mechanical processing, and residual stress. The editors of Analytical Characterization of Aluminum, Steel, and Superalloys enlist top industry researchers and practitioners from around the world to analyze the methodologies presented in their areas of expertise. Following traditional metallography methods, the book features an atlas of microstructures for aluminum, steel, and superalloys. The text also examines several material characterization methods rarely covered in other references, provides the framework for using advanced laboratory techniques, and discusses component failure identification methods and other measurements that are crucial to components manufacturing. Enabling the evolution of stronger and more function-specific compositions, Analytical Characterization of Aluminum, Steel, and Superalloys offers engineers, researchers, and materials scientists an invaluable reference of many advanced laboratory techniques in the context of characterization and property evaluation methodologies for metals and alloys.

The Handbook of Aluminum: Vol. 1: Physical Metallurgy and Processes covers all aspects of the physical metallurgy, analytical techniques, and processing of aluminium, including hardening, annealing, aging, property prediction, corrosion, residual stress and distortion, welding, casting, forging, molten metal processing, machining, rolling, and extrusion. It also features an extensive, chapter-length consideration of quenching.

This book offers a diverse and groundbreaking account of the intersections between modernities and environments in the circumpolar global North, foregrounding the Arctic as a critical space of modernity, where the past, present, and future of the planet's environmental and political systems are projected and imagined. Investigating the Arctic region as a privileged site of modernity, this book articulates the globally significant, but often overlooked, junctures between environmentalism and sustainability, indigenous epistemologies and scientific rhetoric, and decolonization strategies and governmentality. With international expertise made easily accessible, readers can observe and understand the rise and conflicted status of Arctic modernities, from the nineteenth century polar explorer era to the present day of anthropogenic climate change.

When Scott McKenzie was a young man, he thought he saw God . . .

The deity was all in black with knee-high silver boots, a patent-leather breastplate, and full face makeup, clutching a beautiful, custom Les Paul guitar. Ace Frehley, lead guitarist for the rock group KISS, wasn't God--but hearing his piercing, shrieking, screaming, outrageous guitar solos was a transcendent spiritual experience for a boy from rural Kentucky, making him feel uplifted, a witness to a higher power.

Two decades later, a grown-up Scott McKenzie vowed to meet Ace Frehley in the flesh--as well as the other gods and demigods who have held divine power over a generation of worshipful metal fans: legendary guitar champions like Glenn Tipton of Judas Priest and Phil Collen of Def Leppard, hallowed names like Steve Vai, Warren DeMartini, and John 5.

Power Chord is a chronicle of Scott McKenzie's epic quest to stand in the presence of metal greatness--to meet his omnipotent guitar gods face-to-face and get them to divulge their otherworldly secret.

Beginning with Robert Flaherty's Nanook of the North (1922), the majority of films that have been made in, about, and by filmmakers from the Arctic region have been documentary cinema. Focused on a hostile environment that few people visit, these documentaries have heavily shaped ideas about the contemporary global Far North. In Arctic Cinemas and the Documentary Ethos, contributors from a variety of scholarly and artistic backgrounds come together to provide a comprehensive study of Arctic documentary cinemas from a transnational perspective. This book offers a thorough analysis of the concept of the Arctic as it is represented in documentary filmmaking, while challenging the notion of "The Arctic" as a homogenous entity that obscures the environmental, historical, geographic, political, and cultural differences that characterize the region. By examining how the Arctic is imagined, understood, and appropriated in documentary work, the contributors argue that such films are key in contextualizing environmental, indigenous, political, cultural, sociological, and ethnographic understandings of the Arctic, from early cinema to the present. Understanding the role of these films becomes all the more urgent in the present day, as conversations around resource extraction, climate change, and sovereignty take center stage in the Arctic's representation.

This is a comprehensive study of films made in and about one of the world's most breathtaking landscapes - the Arctic. The first book to address the vast diversity of Northern circumpolar cinemas from a transnational perspective, Films on Ice: Cinemas of the Arctic presents the region as one of great and previously overlooked cinematic diversity. With chapters on polar explorer films, silent cinema, documentaries, ethnographic and indigenous film, gender and ecology, as well as Hollywood and the USSR's uses and abuses of the Arctic, this book provides a groundbreaking account of Arctic cinemas from 1898 to the present. Challenging dominant notions of the region in popular and political culture, it demonstrates how moving images (cinema, television, video, and digital media) have been central to the very definition of the Arctic since the end of the 19th century. Bringing together an international array of European, Russian, Nordic, and North American scholars, Films on Ice radically alters stereotypical views of the Arctic region, and therefore of film history itself. It transforms the study, reception, and reach of Arctic cinema, film, and moving image culture. It establishes the significance of the term Global North in relation to film studies. It brings together an international array of European, Russian, Nordic, and North America of scholars and researchers, with content expertise transcending limited national or regional boundaries. Editors are planning to build a companion website with complimentary images and videos.

For centuries, the Arctic was visualized as an unchanging, stable, and rigidly alien landscape, existing outside twenty-first-century globalization. It is now impossible to ignore the ways the climate crisis, expanding resource extraction, and Indigenous political mobilization in the circumpolar North are constituent parts of the global present. New Arctic Cinemas presents an original, comparative, and interventionist historiography of film and media in twenty-first-century Scandinavia, Greenland, Russia, Canada, and the United States to situate Arctic media in the place it rightfully deserves to occupy: as central to global environmental concerns and Indigenous media sovereignty and self-determination movements. The works of contemporary Arctic filmmakers, from Zacharias Kunuk and Alethea Arnaquq-Baril to Amanda Kernell and Inuk Silis Høegh, reach worldwide audiences. In examining the reach and influence of these artists and their work, Scott MacKenzie and Anna Westerstahl Stenport reveal a global media system of intertwined production contexts, circulation opportunities, and imaginaries—all centering the Arctic North.

Mapping the Rockumentary: Images of Sound and Fury is the first anthology to explore the rockumentary as a central component of both the documentary and world cinema. The book includes case studies of bands and performers such as The Beatles, The Rolling Stones, Bob Dylan, The Clash, Madonna and Metallica and performers from Asia, Europe and the Americas, making the case for rockumentaries as part of an established and ever-evolving cinematic tradition. With an international and transdisciplinary approach, and addressing rocumentaries in film, television and on the internet, the book explores the form's rich history from the 1950s to the present day - and beyond.

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme '95); Latin American Third Cinemas (Birri, Sanjines, Espinosa, Solanas); radical art and the avant-garde (Bunuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollain, Debord, Hermosillo, Isou, Kieslowski, Painleve, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

Mapping the Rockumentary: Images of Sound and Fury is the first anthology to explore the rockumentary as a central component of both the documentary and world cinema. The book includes case studies of bands and performers such as The Beatles, The Rolling Stones, Bob Dylan, The Clash, Madonna and Metallica and performers from Asia, Europe and the Americas, making the case for rockumentaries as part of an established and ever-evolving cinematic tradition. With an international and transdisciplinary approach, and addressing rocumentaries in film, television and on the internet, the book explores the form's rich history from the 1950s to the present day - and beyond.

The first book to address the vast diversity of Northern circumpolar cinemas from a transnational perspective, Films on Ice presents the region as one of great and previously overlooked cinematic diversity. With chapters on polar explorer films, silent cinema, documentaries, ethnographic and indigenous film, gender and ecology, as well as Hollywood and the USSR's uses and abuses of the Arctic, this book provides a groundbreaking account of Arctic cinemas from 1898 to the present and radically alters stereotypical views of the Arctic region.

"Human-Computer Interaction: An Empirical Research Perspective" is the definitive guide to empirical research in HCI. The book begins with foundational topics including historical context, the human factor, interaction elements, and the fundamentals of science and research. From there, you'll progress to learning about the methods for conducting an experiment to evaluate a new computer interface or interaction technique. There are detailed discussions and how-to analyses on models of interaction, focusing on descriptive models and predictive models. Writing and publishing a research paper is explored with helpful tips for success. Throughout the book, you'll find hands-on exercises, checklists, and real-world examples. This is your must-have, comprehensive guide to empirical and experimental research in HCI-an essential addition to your HCI library.

Master empirical and experimental research with this comprehensive, A-to-Z guide in a concise, hands-on reference
Discover the practical and theoretical ins-and-outs of user studies
Find exercises, takeaway points, and case studies throughout