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This edited collection brings together academics and practitioners
to explore the uses of Digital Storytelling, which places the
greatest possible emphasis on the voice of the storyteller. Case
studies are used as a platform to investigate questions of concept,
theory and practice, and to shine an interrogative light on this
emergent form of participatory media. The collection examines the
creative and academic roots of Digital Storytelling before drawing
on a range of international examples to consider the way in which
the practice has established itself and evolved in different
settings across the world.
What's your impression of the CIA? A bumbling agency that can't
protect its own spies? A rogue organization prone to covert
operations and assassinations? Or a dedicated public service that
advances the interests of the United States? Astute TV and movie
viewers may have noticed that the CIA's image in popular media has
spanned this entire range, with a decided shift to more positive
portrayals in recent years. But what very few people know is that
the Central Intelligence Agency has been actively engaged in
shaping the content of film and television, especially since it
established an entertainment industry liaison program in the
mid-1990s. The CIA in Hollywood offers the first full-scale
investigation of the relationship between the Agency and the film
and television industries. Tricia Jenkins draws on numerous
interviews with the CIA's public affairs staff, operations
officers, and historians, as well as with Hollywood technical
consultants, producers, and screenwriters who have worked with the
Agency, to uncover the nature of the CIA's role in Hollywood. In
particular, she delves into the Agency's and its officers'
involvement in the production of The Agency, In the Company of
Spies, Alias, The Recruit, The Sum of All Fears, Enemy of the
State, Syriana, The Good Shepherd, and more. Her research reveals
the significant influence that the CIA now wields in Hollywood and
raises important and troubling questions about the ethics and
legality of a government agency using popular media to manipulate
its public image.
This edited collection brings together academics and practitioners
to explore the uses of Digital Storytelling, which places the
greatest possible emphasis on the voice of the storyteller. Case
studies are used as a platform to investigate questions of concept,
theory and practice, and to shine an interrogative light on this
emergent form of participatory media. The collection examines the
creative and academic roots of Digital Storytelling before drawing
on a range of international examples to consider the way in which
the practice has established itself and evolved in different
settings across the world.
More than 5,000 film festivals take place globally and many of
these have only been established in the last two decades.
International Film Festivals collects the leading scholarship on
this increasingly prominent phenomenon from both historical and
contemporary perspectives, using diverse methods including archival
research, interviews and surveys and drawing widely from fields
like sociology, urban studies and film criticism to patent
technology and history. With contributors from across the world and
covering the major festivals - Cannes, Venice, Toronto, Berlin - as
well as niche, genre and online film festivals, this book is an
authoritative and exemplary guide to the evolution of these key
sites for film distribution, exhibition and reception. Chapters
unravel topics such as the relationship between corporations and
festivals, the soft power function they can perform for their host
nations and the changing identities of audiences on arrival at, and
during exploration of, a given festival venue. Tricia Jenkins'
edited volume reconceives the film festival for the global, digital
age whilst drawing out its historic importance and ultimately makes
a major intervention in film festival studies as well as film and
cultural studies more widely.
What's your impression of the CIA? A bumbling agency that can't
protect its own spies? A rogue organization prone to covert
operations and assassinations? Or a dedicated public service that
advances the interests of the United States? Astute TV and movie
viewers may have noticed that the CIA's image in popular media has
spanned this entire range, with a decided shift to more positive
portrayals in recent years. But what very few people know is that
the Central Intelligence Agency has been actively engaged in
shaping the content of film and television, especially since it
established an entertainment industry liaison program in the
mid-1990s. The CIA in Hollywood offers the first full-scale
investigation of the relationship between the Agency and the film
and television industries. Tricia Jenkins draws on numerous
interviews with the CIA's public affairs staff, operations
officers, and historians, as well as with Hollywood technical
consultants, producers, and screenwriters who have worked with the
Agency, to uncover the nature of the CIA's role in Hollywood. In
particular, she delves into the Agency's and its officers'
involvement in the production of The Agency, In the Company of
Spies, Alias, The Recruit, The Sum of All Fears, Enemy of the
State, Syriana, The Good Shepherd, and more. Her research reveals
the significant influence that the CIA now wields in Hollywood and
raises important and troubling questions about the ethics and
legality of a government agency using popular media to manipulate
its public image.
More than 5,000 film festivals take place globally and many of
these have only been established in the last two decades.
International Film Festivals collects the leading scholarship on
this increasingly prominent phenomenon from both historical and
contemporary perspectives, using diverse methods including archival
research, interviews and surveys and drawing widely from fields
like sociology, urban studies and film criticism to patent
technology and history. With contributors from across the world and
covering the major festivals - Cannes, Venice, Toronto, Berlin - as
well as niche, genre and online film festivals, this book is an
authoritative and exemplary guide to the evolution of these key
sites for film distribution, exhibition and reception. Chapters
unravel topics such as the relationship between corporations and
festivals, the soft power function they can perform for their host
nations and the changing identities of audiences on arrival at, and
during exploration of, a given festival venue. Tricia Jenkins'
edited volume reconceives the film festival for the global, digital
age whilst drawing out its historic importance and ultimately makes
a major intervention in film festival studies as well as film and
cultural studies more widely.
Tricia Jenkins and Tom Secker deliver a highly original exploration
of how the government-entertainment complex has influenced the
world's most popular movie genre-superhero films. Superheroes,
Movies, and the State sets a new standard for exploring the
government-Hollywood relationship as it persuasively documents the
critical role different government agencies have played in shaping
characters, stories, and even the ideas behind the hottest
entertainment products. Jenkins and Secker cover a wide range of US
government and quasi-governmental agencies who act to influence the
content of superhero movies, including the Department of Defense,
the National Academy of Sciences' Science and Entertainment
Exchange and, to a lesser extent, the FBI and the CIA. Superheroes,
Movies, and the State deploys a thematic framework to analyze how
five of the key themes of our time-militarism, political radicalism
and subversion, the exploration of space, the role of science and
technology, and representation and identity-manifest in the
superhero genre, and the role of the government in molding
narratives around these topics. The book includes interviews with
both producers and influencer insiders and covers a wide range of
superhero products, from 1970s TV shows up to the most recent movie
and TV releases, including the first major analysis of the hit
Amazon show The Boys. In addition, it is the first deep exploration
of NASA's Hollywood office and the first detailed account of the
role of the Science and Entertainment Exchange, which has worked on
thousands of products since its creation in 2008 but is little
known outside of the industry. Superheroes, Movies, and the State
offers an innovative blend of research methods and interpretive
frameworks, combining both production histories and deep readings
of superhero texts to clearly reveal how the
government-entertainment complex works in the world of blockbuster
cinema to shape public perceptions of the United States, war,
science, and much, much more.
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