Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many ?migr? filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mid-1950s to the present. In this first-of-its-kind collection, contributors from philosophy, film studies, and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention. The introduction traces the development of TV noir and provides an overview and evaluation of the book's thirteen essays, each of which discusses an exemplary TV noir series. Realism, relativism, and integrity are discussed in essays on Dragnet, Naked City, The Fugitive, and Secret Agent. Existentialist themes of authenticity, nihilism, and the search for life's meaning are addressed in essays on Miami Vice, The Sopranos, Carnivale, and 24. The methods of crime scene investigation in The X-Files and CSI are examined, followed by an exploration of autonomy, selfhood, and interpretation in The Prisoner, Twin Peaks, The X-Files, and Millennium. With this focus on the philosophical dimensions of crime, espionage, and science fiction series, The Philosophy of TV Noir draws out the full implications of film noir and establishes TV noir as an art form in its own right.

Widely regarded as a turning point in American independent cinema, Steven Soderbergh's sex, lies, and videotape (1989) launched the career of its twenty-six-year-old director, whose debut film was nominated for an Academy Award and went on to win the Cannes Film Festival's top award, the Palme d'Or. The Philosophy of Steven Soderbergh breaks new ground by investigating salient philosophical themes through the unique story lines and innovative approaches to filmmaking that distinguish this celebrated artist.

Editors R. Barton Palmer and Steven M. Sanders have brought together leading scholars in philosophy and film studies for the first systematic analysis of Soderbergh's entire body of work, offering the first in-depth exploration of the philosophical ideas that form the basis of the work of one of the most commercially successful and consistently inventive filmmakers of our time.

Sociocultural Issues in Physical Education: Case Studies for Teachers is useful to a wide range of individuals interested in increasing their sociocultural awareness and knowledge in order to consider how students experiences are shaped in and through physical education classes. This book may be especially useful to teacher candidates and as a professional development tool. What happens in physical activity learning spaces is of great significance to the learners that occupy those spaces. Broadly speaking, one cannot deny that education is rife with error, nor can one ignore the presence of global-level issues in physical education. Using a case study approach, this book addresses social and cultural issues that can and do arise in physical education. This book offers a tool for studying and better understanding how social and cultural issues impact student learning in physical education. Chapter authors point toward possibilities for better understanding sociocultural issues in physical education settings."

Sociocultural Issues in Physical Education: Case Studies for Teachers is useful to a wide range of individuals interested in increasing their sociocultural awareness and knowledge in order to consider how students experiences are shaped in and through physical education classes. This book may be especially useful to teacher candidates and as a professional development tool. What happens in physical activity learning spaces is of great significance to the learners that occupy those spaces. Broadly speaking, one cannot deny that education is rife with error, nor can one ignore the presence of global-level issues in physical education. Using a case study approach, this book addresses social and cultural issues that can and do arise in physical education. This book offers a tool for studying and better understanding how social and cultural issues impact student learning in physical education. Chapter authors point toward possibilities for better understanding sociocultural issues in physical education settings."

The science fiction genre maintains a remarkable hold on the imagination and enthusiasm of the filmgoing public, captivating large audiences worldwide and garnering ever-larger profits. Science fiction films entertain the possibility of time travel and extraterrestrial visitation and imaginatively transport us to worlds transformed by modern science and technology. They also provide a medium through which questions about personal identity, moral agency, artificial consciousness, and other categories of experience can be addressed. In The Philosophy of Science Fiction Film, distinguished authors explore the storylines, conflicts, and themes of fifteen science fiction film classics, from Metropolis to The Matrix. Editor Steven M. Sanders and a group of outstanding scholars in philosophy, film studies, and other fields raise science fiction film criticism to a new level by penetrating the surface of the films to expose the underlying philosophical arguments, ethical perspectives, and metaphysical views. Sanders's introduction presents an overview and evaluation of each essay and poses questions for readers to consider as they think about the films under discussion.The first section, "Enigmas of Identity and Agency," deals with the nature of humanity as it is portrayed in Blade Runner, Dark City, Frankenstein, Invasion of the Body Snatchers, and Total Recall. In the second section, "Extraterrestrial Visitation, Time Travel, and Artificial Intelligence," contributors discuss 2001: A Space Odyssey, The Terminator, 12 Monkeys, and The Day the Earth Stood Still and analyze the challenges of artificial intelligence, the paradoxes of time travel, and the ethics of war. The final section, "Brave Newer World: Science Fiction Futurism," looks at visions of the future in Metropolis, The Matrix, Alphaville, and screen adaptations of George Orwell's 1984.

Spinning out of Astonishing X-Men comes a story that will take you places you've never been! After Secret Invasion, Agent Brand is no longer the top dog at S.W.O.R.D. (Sentient Worlds Observation and Response Department) - a spy agency dealing with extraterrestrial threats to world security. Forced to share her leadership post with former Avengers liaison Henry Gyrich, Brand is less than pleased. Will the arrival of her boyfriend, X-Man Beast, help her out? Not when she discovers Gyrich's plan for fixing S.W.O.R.D. is to rid Earth of all aliens! Collecting: S.W.O.R.D. (2007) 1-5

True story: in 1899, Mark Twain and Nikola Tesla decided to end war forever. With Twain's connections and Tesla's inventions, they went into business selling world peace. So, what happened? Only now can the tale be told - in which Twain and Tesla collided with Edison and Morgan, an evil science cabal merging the Black Arts and the Industrial Age. Turn of the century New York City sets the stage for a titanic battle over the very fate of mankind. Now back in print, this new edition of the steampunk classic features new cover art by artists Steven Sanders.

Ahoy, shipmates This is the book of the year for 2014 from the Seadog Slam It features all of the winners and contestants from the 2013 Seadog Slam Poetry Contest and some more of the latest work from the Seadogs. With poems like "Adrift," "The Captain's Coat," "The Sea Rascal of Gloucester," "The Tale of Ol' John Cavnedish," "Out of the Blue," and "I Don't Know What's In It," this book has some great piratical poetry and celebrates the second year of the official life of the Seadog Slam

Known for restoring vitality and superior craftsmanship to the crime thriller, American filmmaker Michael Mann has long been regarded as a talented triple threat capable of moving effortlessly between television and feature films as a writer, director, and executive producer. His unique visual sense and thematic approach are evident in the Emmy Award-winning The Jericho Mile (1979), the cult favorite The Keep (1983), the American epic The Last of the Mohicans (1992), and the Academy Award-nominated The Insider (1999) as well as his most recent works -- Ali (2001), Miami Vice (2006), and Public Enemies (2009).

The Philosophy of Michael Mann provides an up-to-date and comprehensive account of the work of this highly accomplished filmmaker, exploring the director's recognizable visual style and the various on-screen and philosophical elements he has tested in his thirty-five-year career. The essays in this wide-ranging book will appeal to fans of the revolutionary filmmaker and to philosophical scholars interested in the themes and conflicts that drive his movies.

We all know about a certain Snow who after her apple induced sleep hooked up with her Prince. What happened next? Why, she had a daughter. This is the story of that daughter's adventures and quest with dwarves, a Wicked Elf and a huge hairy monster called The Snaggle.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

"Echoes From Other Worlds" is an anthology of poetry, short stories, and artwork. It is divided into two parts - "Tales from the Sea" which is pirate-themed and "Tales from the Mist" which includes works of science fiction and fantasy. It includes poems like "It's in Me Blood," "Vagabond," "Legend of the Compass Rose," "The Scottish Pirate," and "The Pirate Christmas Party." There are short stories like "The Surgeon's Mate," "Judgment," "John Neligan," "The Portal," "The Sorcerer's Headphones," and "The Passing of the Mantle." Come, be still and listen, you may hear echoes from other worlds . . .

Are you looking for poetry about pirates? Poems about pirates and their lives at sea? Are you looking for poetry that tells about sea battles, poems about buccaneers, about salmagundi, about sirens and mermaids, or poetry written BY "pirates"? Well then, you want to get a copy of "Raising Black Flags" "Raising Black Flags" is an anthology of poetry by and about pirates and includes works by Flora Alomari, J. L. Bright, Chuck Burrows, Sandra L. Harris, Cassidy King, Shari Land, Shana L. Martin, Michael Muller, Debra Estes Peterson, Melody Sanders, Stephen Sanders, Desiree Simons, Kittye Williams, Pamala A. Williams, and the artwork of Robert L. Berry, Jr., and Kenneth King. It is a celebration of the legends and lore of piracy from fourteen different perspectives by poets with different styles and two different artists who create in different mediums.

Adapted from the naval history classic and New York Times bestseller, The Last Stand of the Tin Can Sailors pieces together the action of the Battle off Samar, bringing to life a riveting story of heroism against daunting odds, duty, and sacrifice in a way never seen before. In October 1944, Allied forces began landing on the Philippine island of Leyte. Quickly assessing the threat of the Allied invasion, the Japanese navy sought to counterattack. But with the island protected by the full strength of Admiral William F. Halsey's Third Fleet, a direct attack was nearly impossible. Undeterred, the Japanese Admiralty deployed their forces, engaging the Third Fleet and retreating in a manner that drew the fleet into a hot pursuit. However, Admiral Halsey had been deceived, and the Japanese plan had taken his fleet out of position to defend the American beachhead. With the northern route to Leyte open and unguarded, the Japanese Center Force--a fleet led by the battleship Yamato, the largest and most powerful battleship ever constructed--seemingly had a clear path to the landing beaches on Leyte. Only one thing stood between the Japanese forces and the vulnerable objective. Taffy 3, a small task unit from the Seventh Fleet was made up of destroyers, destroyer escorts, and escort aircraft carriers; thirteen ships with little firepower and even less armor. On the morning of October 25, 1944, Taffy 3 suddenly became the only obstacle between the Allied landings and the Japanese Center Force. Hopelessly outmanned and outgunned, Taffy 3 plunged into battle. The ensuing action, known as the Battle off Samar, became one of the greatest last stands in naval history.

There may be no more iconic image of mid-1980s network television than Sonny Crockett and Ricardo Tubbs speeding down Biscayne Boulevard in Crockett's sleek black Ferrari on Miami Vice. With its unprecedented $1.3 million-per-episode budget and executive producer Michael Mann at the helm, Miami Vice brought feature film production values to prime time and redefined the television police drama. In Miami Vice author Steven Sanders argues that the show's themes, narratives, visual realization, and sound design created a new standard of crime television that has its roots in classic film noir and neo-noir. In chapter 1 Sanders describes the social, political, and cultural background that led Anthony Yerkovich, creator of Miami Vice, and Mann to use Miami and its beaches not merely as a backdrop but as a character in its own right. Along with the show's visual aspects, Sanders identifies themes of ambiguity, alienation, personal identity, and irony that came to define the distinctive ""TV noir"" style of Miami Vice. In chapter 2, Sanders discusses four key episodes to examine the existentialist and postmodern themes that can be found in their story lines and visual style. In chapter 3, Sanders considers questions of authenticity, redemption, and politics in Miami Vice, with reference to episodes that demonstrate the show's attention to the political corruption and intrigue surrounding the war on drugs. In the final chapter, Sanders offers a novel explanation of why Miami Vice matters to film and video scholars. Miami Vice's visual and musical appeal, cultural resonance, and topicality made it absorbing entertainment in its own day; Sanders proves that its exploration of social, moral, political, and philosophical issues make it worth watching twenty-five years later. Fans of the show and scholars of television history and American popular culture will appreciate this illuminating look at Miami Vice.