This book examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film. Rather than simply examining the representation of the house as national symbol, auteur trait, or in terms of genre, contributors study various rooms in the domestic sphere from an assortment of time periods and from a diversity of national cinemas-from interior spaces in ancient Rome to the Chinese kitchen, from the animated house to the metaphor of the armchair in film noir.

This book examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film. Rather than simply examining the representation of the house as national symbol, auteur trait, or in terms of genre, contributors study various rooms in the domestic sphere from an assortment of time periods and from a diversity of national cinemas-from interior spaces in ancient Rome to the Chinese kitchen, from the animated house to the metaphor of the armchair in film noir.

This book focuses on the output of women film directors in the period post Millennium when the number of female directors working within the film industry rose substantially. Despite the fact that nationally and internationally women film directors are underrepresented within the industry, there is a wealth of talent currently working in Britain. During the early part of the 2000s, the UKFC instigated policies and strategies for gender equality and since then the British Film Institute has continued to encourage diversity. British Women Directors in the New Millennium therefore examines the production, distribution and exhibition of female directors' work in light of policy. The book is divided into two sections: part one includes a historical background of women directors working in the twentieth century before discussing the various diversity funding opportunities available since 2000. The second part of the book examines the innovation, creativity and resourcefulness of British female film directors, as well as the considerable variety of films that they produce, selecting specific examples for analysis in the process.

Tim Burton is an internationally celebrated director, critically acclaimed for his fantasy horror films and the macabre ghosts, animated corpses and grotesques that inhabit them. This innovative study centres on the body as a centripetal force in Burton's work and considers the array of anomalous, extraordinary and transgressive beings that pervade his canon. It broadens the focus of living forms to include animated, creaturely, corporeal and Gothic bodies, exploring the way that Burton celebrates the body whether human, animal, animated or anthropomorphised. In prioritising the somatic aspects of characters, Tim Burton's Bodies spotlights actual physical attributes and behaviour, and considers what meanings these may impart in terms of race, class, gender, sexuality, humanimality and disability.

Tim Burton is an internationally celebrated director, critically acclaimed for his fantasy horror films and the macabre ghosts, animated corpses and grotesques that inhabit them. This innovative study centres on the body as a centripetal force in Burton's work and considers the array of anomalous, extraordinary and transgressive beings that pervade his canon. It broadens the focus of living forms to include animated, creaturely, corporeal and Gothic bodies, exploring the way that Burton celebrates the body - whether human, animal, animated or anthropomorphised. In prioritising the somatic aspects of characters, Tim Burton's Bodies spotlights actual physical attributes and behaviour, and considers what meanings these may impart in terms of race, class, gender, sexuality, humanimality and disability.

A Critical Companion to Christopher Nolan provides a wide-ranging exploration of Christopher Nolan's films, practices, and collaborations. From a range of critical perspectives, this volume examines Nolan's body of work, explores its industrial and economic contexts, and interrogates the director's auteur status. This volume contributes to the scholarly debates on Nolan and includes original essays that examine all his films including his short films. It is structured into three sections that deal broadly with themes of narrative and time; collaborations and relationships; and ideology, politics, and genre. The authors of the sixteen chapters include established Nolan scholars as well as academics with expertise in approaches and perspectives germane to the study of Nolan's body of work. To these ends, the chapters employ intersectional, feminist, political, ideological, narrative, economic, aesthetic, genre, and auteur analysis in addition to perspectives from star theory, short film theory, performance studies, fan studies, adaptation studies, musicology, and media industry studies.

Screening the Nonhuman draws connections between how animals represented on screen translate into reality. In doing so, the book demonstrates that consuming media is not a neutral act but rather a political one. The images humans consume have real world consequences for how animals are treated as actors, as pets, and in nature. The contributors propose that altering the representations of animals can change the way humans relate to non/humans. Our hope is for humans to generate more ethical relationships with non/humans, ultimately mediating reality both in terms of fiction and non-fiction. To achieve this end, film, television, advertisements, and social media are analyzed through an intersectional lens. But the book doesn't stop here. Each author creates counter-representational strategies that promise to unweave the assumptions that have led to the mistreatment of humans and non/humans alike.

The contemporary study of film is dominated by narrative theory - yet films include scenes and images which do not perform a narrative task but nevertheless provoke an emotional response. Stella Hockenhull looks at the painterly dimensions inherent in the medium of film, arguing that an aesthetic analysis enables a fuller appreciation of the visual 'spectacle' of cinema. In a reading of the formal aspects in film imagery in contemporary British films spanning social realist, melodrama and horror genres, Hockenhull demonstrates how the spiritual aspects of landscape and nature mobilize a Neo-Romantic effect. She traces the influence of Romanticism and notions of the Sublime in key British films including "'Sweet Sixteen'," "'The Queen'," "'Ratcatcher'," "'Eden Lake'," "'28 Days Later'," "'My Summer of Love'" and "'The Last Great Wilderness'." Operating at the intersection between film theory, art theory and aesthetics, this is a vital contribution which enables a fuller, multidimensional understanding of cinematic experience.

Screening the Nonhuman draws connections between how animals represented on screen translate into reality. In doing so, the book demonstrates that consuming media is not a neutral act but rather a political one. The images humans consume have real world consequences for how animals are treated as actors, as pets, and in nature. The contributors propose that altering the representations of animals can change the way humans relate to non/humans. Our hope is for humans to generate more ethical relationships with non/humans, ultimately mediating reality both in terms of fiction and non-fiction. To achieve this end, film, television, advertisements, and social media are analyzed through an intersectional lens. But the book doesn't stop here. Each author creates counter-representational strategies that promise to unweave the assumptions that have led to the mistreatment of humans and non/humans alike.