Alfred Hitchcock is arguably the most famous director to have ever made a film. Almost single-handedly he turned the suspense thriller into one of the most popular film genres of all time, while his Psycho updated the horror film and inspired two generations of directors to imitate and adapt this most Hitchcockian of movies. Yet while much scholarly and popular attention has focused on the director's oeuvre, until now there has been no extensive study of how Alfred Hitchcock's films and methods have affected and transformed the history of the film medium.
In this book, thirteen original essays by leading film scholars reveal the richness and variety of Alfred Hitchcock's legacy as they trace his shaping influence on particular films, filmmakers, genres, and even on film criticism. Some essays concentrate on films that imitate Hitchcock in diverse ways, including the movies of Brian de Palma and thrillers such as True Lies, The Silence of the Lambs, and Dead Again. Other essays look at genres that have been influenced by Hitchcock's work, including the 1970s paranoid thriller, the Italian giallo film, and the post-Psycho horror film. The remaining essays investigate developments within film culture and academic film study, including the enthusiasm of French New Wave filmmakers for Hitchcock's work, his influence on the filmic representation of violence in the post-studio Hollywood era, and the ways in which his films have become central texts for film theorists.
The author of numerous bestselling novels, a masterful short story writer, and an outspoken social activist, Fannie Hurst was a major celebrity in the first half of the twentieth century. Daniel Itzkovitz’s introduction situates Imitation of Life in its literary, biographical, and cultural contexts, addressing such topics as the debates over the novel and films, the role of Hurst’s one-time secretary and great friend Zora Neale Hurston in the novel’s development, and the response to the novel by Hurst’s friend Langston Hughes, whose one-act satire, “Limitations of Life” (which reverses the races of Bea and Delilah), played to a raucous Harlem crowd in the late 1930s. This edition brings a classic of popular American literature back into print.
Because of the special stamp he put on his melodramas, Sirk's best works transcend the constraints of their genre. In them, he both exemplified and critiqued postwar, conservative, materialistic life and its false value systems. There is much in Sirk, particularly in Imitation of Life, that is of interest to us today. The time seems to be right for a new look at the film, its reception amidst scandal over the affairs of its star—Lana Turner—the relationships between its mothers and daughters, the tensions between its men and its women, the friendships between its black and white women, and the ambiguous, controversial approach of Sirk to his material.
This volume includes the complete continuity script of the film, critical commentary and published reviews, interviews with the director, and a filmography and bibliography. It also includes an excellent introduction by Lucy Fischer.
This exciting compendium brings together, for the first time, some of the foremost scholars of René Girard’s mimetic theory, with leading imitation researchers from the cognitive, developmental, and neuro sciences. These chapters explore some of the major discoveries and developments concerning the foundational, yet previously overlooked, role of imitation in human life, revealing the unique theoretical links that can now be made from the neural basis of social interaction to the structure and evolution of human culture and religion. Together, mimetic scholars and imitation researchers are on the cutting edge of some of the most important breakthroughs in understanding the distinctive human capacity for both incredible acts of empathy and compassion as well as mass antipathy and violence. As a result, this interdisciplinary volume promises to help shed light on some of the most pressing and complex questions of our contemporary world.
Unlocking a vital understanding of how literary studies and media studies overlap and are bound together
A synthetic history of new media reception in modern and contemporary Japan, The New Real positions mimesis at the heart of the media concept. Considering both mimicry and representation as the core functions of mediation and remediation, Jonathan E. Abel offers a new model for media studies while explaining the deep and ongoing imbrication of Japan in the history of new media.
From stereoscopy in the late nineteenth century to emoji at the dawn of the twenty-first, Abel presents a pioneering history of new media reception in Japan across the analog and digital divide. He argues that there are two realities created by new media: one marketed to us through advertising that proclaims better, faster, and higher-resolution connections to the real; and the other experienced by users whose daily lives and behaviors are subtly transformed by the presence and penetration of the content carried through new media. Intervening in contemporary conversations about virtuality, copyright, copycat violence, and social media, each chapter unfolds with a focus on a single medium or technology, including 3D photographs, the phonograph, television, videogames, and emoji.
By highlighting the tendency of the mediated to copy the world and the world to copy the mediated, The New Real provides a new path for analysis of media, culture, and their function in the world.
Before news organizations began putting their content online, people got the news in print or on TV and almost always outside of the workplace. But nowadays, most of us keep an eye on the headlines from our desks at work, and we have become accustomed to instant access to a growing supply of constantly updated stories on the Web. This change in the amount of news available as well as how we consume it has been coupled with an unexpected development in editorial labor: rival news organizations can now keep tabs on the competition and imitate them, resulting in a decrease in the diversity of the news. Peeking inside the newsrooms where journalists create stories and the work settings where the public reads them, Pablo J. Boczkowski reveals why journalists contribute to the growing similarity of news—even though they dislike it—and why consumers acquiesce to a media system they find increasingly dissatisfying.
Comparing and contrasting two newspapers in Buenos Aires with similar developments in the United States, News at Work offers an enlightening perspective on living in a world with more information but less news.
"At long last, a discussion of plagiarism that doesn't stop at 'Don't do it or else,' but does full justice to the intellectual interest of the topic!"
---Gerald Graff, author of Clueless in Academe and 2008 President, Modern Language Association
This collection is a timely intervention in national debates about what constitutes original or plagiarized writing in the digital age. Somewhat ironically, the Internet makes it both easier to copy and easier to detect copying. The essays in this volume explore the complex issues of originality, imitation, and plagiarism, particularly as they concern students, scholars, professional writers, and readers, while also addressing a range of related issues, including copyright conventions and the ownership of original work, the appropriate dissemination of innovative ideas, and the authority and role of the writer/author. Throughout these essays, the contributors grapple with their desire to encourage and maintain free access to copyrighted material for noncommercial purposes while also respecting the reasonable desires of authors to maintain control over their own work.
Both novice and experienced teachers of writing will learn from the contributors' practical suggestions about how to fashion unique assignments, teach about proper attribution, and increase students' involvement in their own writing. This is an anthology for anyone interested in how scholars and students can navigate the sea of intellectual information that characterizes the digital/information age.
"Eisner and Vicinus have put together an impressive cast of contributors who cut through the war on plagiarism to examine key specificities that often get blurred by the rhetoric of slogans. It will be required reading not only for those concerned with plagiarism, but for the many more who think about what it means to be an author, a student, a scientist, or anyone who negotiates and renegotiates the meaning of originality and imitation in collaborative and information-intensive settings."
---Mario Biagioli, Professor of the History of Science, Harvard University, and coeditor of Scientific Authorship: Credit and Intellectual Property in Science
"This is an important collection that addresses issues of great significance to teachers, to students, and to scholars across several disciplines. . . . These essays tackle their topics head-on in ways that are both accessible and provocative."
---Andrea Lunsford, Louise Hewlett Nixon Professor of English, Claude and Louise Rosenberg Jr. Fellow, and Director of the Program in Writing and Rhetoric at Stanford University and coauthor of Singular Texts/Plural Authors: Perspectives on Collaborative Writing
digitalculturebooks is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.
In this thought-provoking work, Tony D. Sampson presents a contagion theory fit for the age of networks. Unlike memes and microbial contagions, Virality does not restrict itself to biological analogies and medical metaphors. It instead points toward a theory of contagious assemblages, events, and affects. For Sampson, contagion is not necessarily a positive or negative force of encounter; it is how society comes together and relates.
Sampson argues that a biological knowledge of contagion has been universally distributed by way of the rhetoric of fear used in the antivirus industry and other popular discourses surrounding network culture. This awareness is also detectable in concerns over too much connectivity, such as problems of global financial crisis and terrorism. Sampson’s “virality” is as established as that of the biological meme and microbe but is not understood through representational thinking expressed in metaphors and analogies. Rather, Sampson interprets contagion theory through the social relationalities first established in Gabriel Tarde’s microsociology and subsequently recognized in Gilles Deleuze’s ontological worldview.
According to Sampson, the reliance on representational thinking to explain the social behavior of networking—including that engaged in by nonhumans such as computers—allows language to overcategorize and limit analysis by imposing identities, oppositions, and resemblances on contagious phenomena. It is the power of these categories that impinges on social and cultural domains. Assemblage theory, on the other hand, is all about relationality and encounter, helping us to understand the viral as a positively sociological event, building from the molecular outward, long before it becomes biological.
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