Danish director Lars von Trier has produced more than 20 films since his first appearance with The Elements of Crime in 1984. One of the most acknowledged – and most controversial – film directors of our time, Trier’s films often escape the representational production of meaning. In Lars von Trier’s Renewal of Film 1984-2014. Signal, Pixel, Diagram scholar Bodil Marie Stavning Thomsen offers a comprehensive discussion of Lars von Trier’s collected works. Examining Trier’s experiments with narrative forms, genre, camera usage, light, and colour tones, she shows how Trier’s unique ethically involving style activates the viewer’s entire perception apparatus. In understanding this affective involvement, the author frames the discussion around concepts from Gilles Deleuze, Alois Riegl, Brian Massumi and others on the haptic image, the diagram, affect and the signaletic material.

The Brazilian television industry is one of the most productive and commercially successful in the world. At the forefront of this industry is TV Globo and its production of standardized telenovelas, which millions of Brazilians and viewers from over 130 countries watch nightly. Eli Lee Carter examines the field of television production by focusing on the work of one of Brazil's greatest living directors, Luiz Fernando Carvalho. Through an emphasis on Carvalho's thirty-plus year career working for TV Globo, his unique mode of production, and his development of a singular aesthetic as a reaction to the dominant telenovela genre, Carter sheds new light on Brazilian television's history, its current state, and where it is going—as new legislation and technology push it increasingly toward a post-network era.

What is the current status of the human body in the digital era? Taking this question as a starting point, the book explores how our perception of the body has been modified by the advent of new media (videogames, transmedia platforms, ARGs), by the rise of recent devices such as wearable technologies,Virtual Reality, cosmetic surgery and by the creation of different narratives such as science-fictions, and TV series. Which kind of identities emerge within this context? How is our body image disseminated? In the ‘Post-Cinematic’ or ‘Post-Media’ condition, the body becomes a changeable, flexible, ‘unstable object’. The first part of this volume analyses the presence of body in the field of television/film and in social media (changes, aesthetics, new spaces); the second part focuses on the relationship between the digital media and the viewer/user, showing how the spectator’s body is subject to a constant shape modification.

Who is the Subaltern in the current global frame? Has neoliberalism changed the experience of subalternity? How do subalterns write history and what kind of history is written about subalternity? Cinéma& Cie's special issue addresses these and other questions through various theoretical approaches. The essays argue for the importance of a multidisciplinary perspective and address issues of media representation from a variety of perspectives, such as visual culture, history, philosophy, and postcolonialism. They focus on contemporary subalternity, especially on the migrant – characterized by diaspora and condemned to invisibility by hegemonic power – and the postcolonial subaltern – who has now the possibility to express her/himself in unexpected ways, in particular by using new media. The scattering and pervasiveness of media devices and gazes is discussed in depth in these essays, which delve into the dialectic between subaltern cultures and agency embodied in the subjects of representation.

Miriam Hopkins (1902--1972) first captured moviegoers' attention in daring precode films such as Dr. Jekyll and Mr. Hyde (1931), The Story of Temple Drake (1933), and Ernst Lubitsch's Trouble in Paradise (1932). Though she enjoyed popular and critical acclaim in her long career -- receiving an Academy Award nomination for Becky Sharp (1935) and a Golden Globe nomination for The Heiress (1949) -- she is most often remembered for being one of the most difficult actresses of Hollywood's golden age. Whether she was fighting with studio moguls over her roles or feuding with her avowed archrival, Bette Davis, her reputation for temperamental behavior is legendary.In the first comprehensive biography of this colorful performer, Allan R. Ellenberger illuminates Hopkins's fascinating life and legacy. Her freewheeling film career was exceptional in studio-era Hollywood, and she managed to establish herself as a top star at Paramount, RKO, Goldwyn, and Warner Bros. Over the course of five decades, Hopkins appeared in thirty-six films, forty stage plays, and countless radio programs. Later, she emerged as a pioneer of TV drama. Ellenberger also explores Hopkins's private life, including her relationships with such intellectuals as Theodore Dreiser, Dorothy Parker, Gertrude Stein, and Tennessee Williams. Although she was never blacklisted for her suspected Communist leanings, her association with these freethinkers and her involvement with certain political organizations led the FBI to keep a file on her for nearly forty years. This skillful biography treats readers to the intriguing stories and controversies surrounding Hopkins and her career, but also looks beyond her Hollywood persona to explore the star as an uncompromising artist. The result is an entertaining portrait of a brilliant yet underappreciated performer.

Barbara La Marr's (1896--1926) publicist once confessed: "There was no reason to lie about Barbara La Marr. Everything she said, everything she did was colored with news-value." When La Marr was sixteen, her older half-sister and a male companion reportedly kidnapped her, causing a sensation in the media. One year later, her behavior in Los Angeles nightclubs caused law enforcement to declare her "too beautiful" to be on her own in the city, and she was ordered to leave. When La Marr returned to Hollywood years later, her loveliness and raw talent caught the attention of producers and catapulted her to movie stardom.In the first full-length biography of the woman known as the "girl who was too beautiful," Sherri Snyder presents a complete portrait of one of the silent era's most infamous screen sirens. In five short years, La Marr appeared in twenty-six films, including The Prisoner of Zenda (1922), Trifling Women (1922), The Eternal City (1923), The Shooting of Dan McGrew (1924), and Thy Name Is Woman (1924). Yet by 1925 -- finding herself beset by numerous scandals, several failed marriages, a hidden pregnancy, and personal prejudice based on her onscreen persona -- she fell out of public favor. When she was diagnosed with a fatal lung condition, she continued to work, undeterred, until she collapsed on set. She died at the age of twenty-nine.Few stars have burned as brightly and as briefly as Barbara La Marr, and her extraordinary life story is one of tempestuous passions as well as perseverance in the face of adversity. Drawing on never-before-released diary entries, correspondence, and creative works, Snyder's biography offers a valuable perspective on her contributions to silent-era Hollywood and the cinematic arts.

Negative stories make the news. Drama and conflicts, victims and villains. They are our modern world. Or are they?This revised second edition on constructive news challenges the traditional concepts and thinking of the news media. It shows the consequences media negativity has on the audience, public discourse, the press and democracy as a whole.The book also explores ways to change old news habits and provides hands-on guidelines on how to do so. Moreover, the book presents numerous examples from the author’s ten-year tenure as executive director of news at the Danish Broadcasting Corporation where he led a successful paradigm shift in news production. Constructive News is a wake-up call for a media world that struggles for a future, as well as an inspirational handbook on the next megatrend in journalism.

The anthology explores contemporary women’s cinema in relation to issues related to gender and globalization. The anthology gathers scholars from several parts of the world – from Italy, the USA, Turkey, Iran, Greece, New Zealand, Argentina, Germany and Canada. Such a global perspective is mirrored in the book’s content: the essays consider women’s production in the domain of cinema by looking at various films and filmmakers around the globe and by tackling the relation between national, transnational and global contexts in film production. What comes out is a multifaceted picture showing that women filmmakers, and especially non- Western filmmakers, are key social actors able to narrate the complexities of the current geopolitical condition and of its subjects. Table of Contents: Introduction Veronica Pravadelli PART I: WOMEN’S CINEMA AND NATIONAL/TRANSNATIONAL/GLOBAL SCENARIOS1. Traumatic Dystopian Futurist Scenarios: Documentary Film, Gender, an Witnessing in Jennifer Baichwal’s Manufactured LandscapesE. Ann Kaplan 2. Female Friendship, Globalization and Women’s Filmmakingin the MediterraneanVeronica Pravadelli 3. Gendered Borderlands: Screens as Contact Zones in Contemporary Women’s Cinema in IndiaNeepa Majumdar 4. Global Change as a Scenario in Recent Films by British Women DirectorsAntonia Lant 5. Crossingthe (Inner) Borders: Aesthetics and Identity Policies in Contemporary European CinemaIlaria A. De Pascalis PART II: WOMEN’S CINEMA AND NATIONAL CINEMAS6. Everyday Labyrinths: Bodies of Memory in the Films of Verónica ChenAdrián Pérez Melgosa 7. No Country for Women? The Place of Top of the Lake and Perfect Strangersin New Zealand CinemaHilary Radner 8. Women Filmmakers in Contemporary Greece ElizaAnna Delveroudi 9. Perceptions of Feminismin Iranian Women’s CinemaSomayeh Ghazizadeh PART III: THEORIES AND FORMS OF AUTHORSHIP10. Colonial Imaginaries: White Women and World Cinema AuthorshipPatricia White 11. The Sound of Place/The Place of Sound: Lucrecia Martel’s Acoustic ImaginaryKathleen M. Vernon 12. Out of Step with Autobiographical Temporality: The Politics of the Affective in Petra Costa’s ElenaLuz Horne 13. The Topographies of Ethnicity in Kym Ragusa’s Passing, fuori/outside, and The Skin Between UsSabrina Vellucci 14. Subversive Strategies in Lucrecia Martel’s CinemaUta Felten 15. Visual Encounters in Lost and Delirious and Blue Is the Warmest ColorMaria Anita Stefanelli PART IV: WOMEN’S CINEMA AND NEW FORMS OF PRODUCTION AND DISTRIBUTION16. Her Blog: Women’s Cinema in the Digital AgeRosanna Maule 17. Women Make Movies and the Politics of Contemporary Feminist Film DistributionKristen M. Fallica 18. NestingInstincts? Women Filmmakers and TV Directors in TurkeyMelis Behlil Biographies

Academy Award--winning director Michael Curtiz (1886--1962) -- whose best-known films include Casablanca (1942), Yankee Doodle Dandy (1942), Mildred Pierce (1945) and White Christmas (1954) -- was in many ways the anti-auteur. During his unprecedented twenty-seven year tenure at Warner Bros., he directed swashbuckling adventures, westerns, musicals, war epics, romances, historical dramas, horror films, tearjerkers, melodramas, comedies, and film noir masterpieces. The director's staggering output of 180 films surpasses that of the legendary John Ford and exceeds the combined total of films directed by George Cukor, Victor Fleming, and Howard Hawks.In the first biography of this colorful, instinctual artist, Alan K. Rode illuminates the life and work of one of the film industry's most complex figures. He begins by exploring the director's early life and career in his native Hungary, revealing how Curtiz shaped the earliest days of silent cinema in Europe as he acted in, produced, and directed scores of films before immigrating to the United States in 1926. In Hollywood, Curtiz earned a reputation for his explosive tantrums, his difficulty communicating in English, and his disregard for the well-being of others. However, few directors elicited more memorable portrayals from their casts, and ten different actors delivered Oscar-nominated performances under his direction.In addition to his study of the director's remarkable legacy, Rode investigates Curtiz's dramatic personal life, discussing his enduring creative partnership with his wife, screenwriter Bess Meredyth, as well as his numerous affairs and children born of his extramarital relationships. This meticulously researched biography provides a nuanced understanding of one of the most talented filmmakers of Hollywood's golden age.

As the papers in this volume testify, digital scholarly editing is a vibrant practice. Scholarly editing has a long-standing tradition in the humanities. It is of crucial importance within disciplines such as literary studies, philology, history, philosophy, library and information science, and bibliography. In fact, digital scholarly editing represents one of the longest traditions in the field of Digital Humanities — and the theories, concepts, and practices that were designed for editing in a digital environment have in turn deeply influenced the development of Digital Humanities as a discipline. By bringing together the extended abstracts from three conferences organised within the DiXiT project (2013-2017), this volume shows how digital scholarly editing is still developing and constantly redefining itself. DiXiT (Digital Scholarly Editing Initial Training) is one of the most innovative training networks for a new generation of scholars in the field of digital scholarly editing, established by ten European leading institutions from academia, in close collaboration with the private sector and cultural heritage institutions, and funded under the EU’s Marie Skłodowska-Curie Actions. The partners together represent a wide variety of technologies and approaches to European digital scholarly editing. The extended abstracts of the convention contributions assembled in this volume showcase the multiplicity of subjects dealt with in and around the topics of digital editing: from issues of sustainability to changes in publications cultures, from the integrity of research and intellectual rights to mixed methods applied to digital editing—to name only a few.

Journalists James Bawden and Ron Miller spent their careers interviewing the greatest stars of Hollywood's golden age. They visited Lee Marvin at home and politely admired his fishing trophies, chatted with Janet Leigh while a young Jamie Lee Curtis played, and even made Elizabeth Taylor laugh out loud.In You Ain't Heard Nothin' Yet, Bawden and Miller return with a new collection of rare interviews with iconic film stars including Henry Fonda, Esther Williams, Buster Keaton, Maureen O'Sullivan, Walter Pidgeon, and many more. The book is filled with humorous anecdotes and incredible behind-the-scenes stories. For instance, Bette Davis reflects that she and Katharine Hepburn were both considered for the role of Scarlett O'Hara but neither was "gorgeous enough" for the part; Janet Leigh analyzes the famous shower scene in Psycho (1960), which was shot in seven days and gave the actress nightmares for years; and Jimmy Stewart describes Alfred Hitchcock as a "strange, roly-poly man, interested only in blondes and murder." Popular horror film stars from Lon Chaney Jr. to Boris Karloff and Vincent Price are also featured in a special "movie monsters" section.With first-person accounts of Hollywood life from some of the most distinguished luminaries in the history of American cinema, this entertaining book will delight classic movie fans.

Ishiro Honda was arguably the most internationally successful Japanese director of his generation, with an unmatched succession of science fiction films that were commercial hits worldwide. From the atomic allegory of Godzilla and the beguiling charms of Mothra to the tragic mystery of Matango and the disaster and spectacle of Rodan, The Mysterians, King Kong vs. Godzilla, and many others, Honda’s films reflected postwar Japan’s real-life anxieties and incorporated fantastical special effects, a formula that appealed to audiences around the globe and created a popular culture phenomenon that spans generations. Now, in the first full account of this long overlooked director’s life and career, authors Steve Ryfle and Ed Godziszewski shed new light on Honda’s work and the experiences that shaped it—including his days as a reluctant Japanese soldier, witnessing the aftermath of Hiroshima, and his lifelong friendship with Akira Kurosawa. Ishiro Honda: A Life in Film, from Godzilla to Kurosawa features close analysis of Honda’s films (including, for the first time, his rarely seen dramas, comedies, and war films) and draws on previously untapped documents and interviews to explore how creative, economic, and industrial factors impacted his career. The authors cover Honda’s non-science fiction films for the first time in any language. Fans of Honda, Godzilla, and tokusatsu (special effects) film, and of Japanese film in general, will welcome this in-depth study of a highly influential director who occupies a uniquely important position in science fiction and fantasy cinema, as well as in world cinema.Together, the authors have provided audio commentary tracks and produced supplemental material for numerous home video releases, including Ishiro Honda’s Godzilla for the British Film Institute. They co-produced the documentary feature Bringing Godzilla Down to Size (2008).

Jeff Corey (1914--2002) made a name for himself in the 1940s as a character actor in films like Superman and the Mole Men (1951), Joan of Arc (1948), and The Killers (1946). Everything changed in 1951, when he was summoned before the House Un-American Activities Committee. Corey refused to name names and was promptly blacklisted, which forced him to walk away from a vibrant livelihood as an actor and embark on a career as one of the industry's most revered acting instructors. In Improvising Out Loud: My Life Teaching Hollywood How to Act, Corey recounts his extraordinary story. Among the actors who would soon fill his classes were James Dean, Kirk Douglas, Jane Fonda, Rob Reiner, Jack Nicholson, and Leonard Nimoy. In 1962, when the blacklist ended, Corey was one of the industry's first trailblazers to seamlessly reboot his acting career and secure roles in some of the classic films of the era, including Butch Cassidy and the Sundance Kid (1969), True Grit (1969), and Little Big Man (1970), in which he starred as the infamous Wild Bill Hickok.Throughout his life, Corey sought to capture the human heart: in conflict, in terror, in love, and in all of its small triumphs. His memoir, which he wrote with his daughter Emily Corey, provides a unique and personal perspective on the man whose teaching inspired some of Hollywood's biggest names to star in the roles that made them famous.

This special issue of Cinéma& Cie focuses the topic of post-cinema taking for granted the background of this notion that animated the recent debate revolving around it. The aim of the volume is thus rather to ask which ontologies, if any can, do the moving image justice in a situation in which the cinema is merely one of many configurations of film, which other theoretical frameworks may be appropriate and which modes of temporality, and of historiography and analysis can account for the steady transformation of film’s varying configurations. While the most productive accounts of post-cinema rarely trace this filiation in an explicit fashion, the label is closely related to the concept of post-media as developed by Félix Guattari in the early 1990s, later adapted into art, media theory, new and screen media. Highlighting the importance of bridging post-cinema and post-media, the volume addresses the post-what and post-when of post-cinema providing original arguments and categories enabling to envisage the next step to be taken in film theory.

Among silent film comedians, three names stand out -- Charlie Chaplin, Buster Keaton, and Harold Lloyd -- but Harry Langdon indisputably deserves to sit among them as the fourth "king." In films such as The Strong Man (1926) and Long Pants (1927) , Langdon parlayed his pantomime talents, expressive eyes, and childlike innocence into silent-era stardom. This in-depth biography, which features behind-the-scenes accounts and personal recollections compiled by Langdon's late wife, provides a full and thoughtful picture of this multifaceted entertainer and his meteoric rise and fall. Authors Gabriella Oldham and Mabel Langdon explore how the actor developed and honed his comedic skills in amateur shows, medicine shows, and vaudeville. Together they survey his early work on the stage at the turn of the twentieth century as well as his iconic routines and characters. They also evaluate his failures from the early sound period, including his decision to part ways with director Frank Capra. Despite his dwindling popularity following the introduction of talkies, Langdon persevered and continued to perform in theater, radio, and film -- literally until his dying day -- leaving behind a unique and brilliant body of work.Featuring never-before-published stories and photos from his immediate family, this biography is a fascinating and revealing look at an unsung silent film giant.

History of Cinema Without Names is an editorial project which gathers research papers presented at Gorizia Conference. It promotes a new research perspective on the notions of film authorship, style, and genre, with the aim of re-articulating their theoretical definition.