From the postapocalyptic world of Blade Runner to theJames Cameron mega-hit Terminator, tech-noir has emerged as a distinct genre, with roots in both the Promethean myth and the earlier popular traditions of gothic, detective, and science fiction. In this new volume, many well-known film and literary works—including The Matrix, RoboCop, and Mary Shelley’s Frankenstein—are discussed with reference to their relationship to tech-noir and one another. Featuring an extensive, clearly indexed filmography, Tech-Noir Film will be of great interest to anyone wishing to learn more about the development of this new and highly innovative genre.
The spectral realm at the boundaries of images incessantly reveals a desire to see beyond the visible and its medium: screens, frames, public displays, and projection sites in an art context. The impact of new media on art and film has influenced the material histories and performances (be they in theory or practice) of images across the disciplines. Digital technologies have not only shaped post-cinematic media cultures and visual epistemologies, but they are behind a growing shift towards a new realism in theory, art, film, and in the art of the moving image in particular. Technology and Desire examines the performative ontologies of moving images across the genealogies of media and their aesthetic agency in contemporary media and video art, CGI, painting, video games, and installations. Drawing on cultural studies, media and film theory as well as art history to provide exemplary evidence of this shift, this book has as its central theme the question of whether images are predicated upon transgressing the boundaries of their framing—and whether in the course of their existence they develop a life of their own.
Theatre in Passing explores spaces of performance in contemporary Moscow. Inspired by French philosopher Michel de Certeau’s model of a "second, poetic geography" in which the walker—the everyday practitioner—invents the space observed by the voyeur, this book takes the reader on a tour of spaces of performance in contemporary Moscow. Through text and photography, the city’s "theatrical geography" is uncovered, from the Bolshoi Theater in Theater Square to hidden gems like the recently restored Kuskovo estate. With additional sections on street theater and other public gatherings, Theatre in Passing is a must-read book for anyone curious about the theatrical architecture and geography of Russia’s capital.
Following the success of prominent feature films shot on location, including Tolkien’s wildly popular The Lord of the Rings, New Zealand boasts an impressive film tourism industry. This book examines the relationship between New Zealand’s cinematic representation—as both a vast expanse of natural beauty and a magical world of fantasy on screen—and its tourism imagery, including the ways in which savvy local tourism boards have in recent decades used the country’s film representations to sell New Zealand as a premiere travel destination. Focusing on the films that have had a strong impact on marketing strategies by local tourist boards, Touring the Screen will be of interest to all those working and studying in the fields of cinema, postcolonial history, and tourism studies.
In recent years, celebrities from George Clooney to Bono to Angelina Jolie have attempted to play an increasingly important role in global politics. Celebrity activism is an ever-growing, internationally visible phenomenon—yet the impact of these high-profile humanitarians on public awareness, government support, and mobilization of resources remains under-researched. Bringing together a diverse group of contributors from media studies and public diplomacy, Transnational Celebrity Activism in Global Politics aims to fill that void with a new interdisciplinary framework for the analysis of celebrity activism in international relations.
In this innovative work of cultural history, Simon Sigley tells the story of film culture in New Zealand from the establishment of the Auckland Film Society in the 1920s to the present day.
Rather than focusing on the work of individual filmmakers, Sigley approaches cinema as a form of social practice. He examines the reception of international film theories and discourses and shows how these ideas helped to shape distinct cultural practices, including new forms of reviewing; new methods of teaching; and new institutions such as film societies, art house cinemas, and film festivals. He goes on to trace the emergence in New Zealand of the full range of activities and institutions associated with a sophisticated film culture—including independent distribution and exhibition networks, film archives, university courses, a local feature film industry, and liberalized film censorship. In doing so, Sigley makes a significant contribution to our understanding of the myriad ways film can shape our thinking, our icons, our institutions, and our conversations. A fascinating case history of how a culture can develop, Transnational Film Culture in New Zealand will be a welcome addition to the bookshelves of anyone interested in film culture and cultural history.
The Trustus Plays collects three full-length, award-winning performance texts by American playwright Jon Tuttle. Each play was a winner of the national Trustus Playwrights Festival contest and was then produced by the Trustus Theatre in Columbia, South Carolina. The Hammerstone is a comedy about two professors aging gracelessly, Drift is a dark comedy about marriage and divorce, and Holy Ghost is the story of German POWs held in the camps in the American south. Jon Tuttle provides an introduction to the plays, and Trustus founder and artistic director, Jim Thigpen, offers a preface describing Tuttle’s work within the context of the Trustus theatre’s dedication to experimental, edgy social drama.
Since the late 1990s, when broadcasters began adapting such television shows as Big Brother, Survivor, and Who Wants to Be a Millionaire? for markets around the world, the global television industry has been struggling to come to grips with the prevalence of program franchising across international borders. In TV Format Mogul, Albert Moran traces the history of this phenomenon through the lens of Australian producer Reg Grundy’s transnational career.
Program copycatting, Moran shows, began long before its most recent rise to prominence. Indeed, he reveals that the practice of cultural and commercial cloning from one place to another, and one time to another, has occurred since the early days of broadcasting. Beginning in the late 1950s, Grundy brought non-Australian shows to Australian audiences, becoming the first person to take local productions to an overseas market. By following Grundy’s career, Moran shows how adaptation and remaking became the billion-dollar business they are today. An exciting new contribution from Australia’s foremost scholar of television, TV Format Mogul will be a definitive history of program franchising.
Beginning around 2003, the growth of interest in the genre of reality shows has dominated the field of television studies. However, concentrating on this genre has tended to sideline the even more significant emergence of the program format as a central mode of business and culture in the new television landscape. TV Formats Worldwide redresses this balance and heralds the emergence of an important, exciting, and challenging area of television studies. Topics explored include reality TV, makeover programs, sitcoms, talent shows, and fiction serials, as well as broadcaster management policies, production decision chains, and audience participation processes. This seminal work will be of considerable interest to media scholars worldwide.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press