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In this comprehensive historical investigation, drawing on films preserved by the Library of Congress and the Museum of Modern Art, Tom Gunning reveals that the remarkable cinematic changes between 1900 and 1915 were a response to the radical reorganization within the film industry and the evolving role of film in American society. The Motion Picture Patents Company, the newly formed Film Trust, had major economic aspirations. The newly emerging industry's quest for a middle-class audience triggered Griffith's early experiments in film editing and imagery. His unique solutions permanently shaped American narrative film.

Commanding a cult following among horror fans, Italian film director Dario Argento is best known for his work in two closely related genres, the crime thriller and supernatural horror, as well as his influence on modern horror and slasher movies. In his four decades of filmmaking, Argento has displayed a commitment to innovation, from his directorial debut with 1970's suspense thriller The Bird with the Crystal Plumage to 2009's Giallo. His films, like the lurid yellow-covered murder-mystery novels they are inspired by, follow the suspense tradition of hard-boiled American detective fiction while incorporating baroque scenes of violence and excess. 

While considerations of Argento's films often describe them as irrational nightmares, L. Andrew Cooper uses controversies and theories about the films' reflections on sadism, gender, sexuality, psychoanalysis, aestheticism, and genre to declare the anti-rational logic of Argento's oeuvre. Approaching the films as rhetorical statements made through extremes of sound and vision, Cooper places Argento in a tradition of aestheticized horror that includes De Sade, De Quincey, Poe, and Hitchcock. Analyzing individual images and sequences as well as larger narrative structures, he reveals how the director's stylistic excesses, often condemned for glorifying misogyny and other forms of violence, offer productive resistance to the cinema's visual, narrative, and political norms.

Darwin’s Footprint examines the impact of Darwinism in Greece, investigating how it has shaped Greece in terms of its cultural and intellectual history, and in particular its literature.

The book demonstrates that in the late 19th to early 20th centuries Darwinism and associated science strongly influenced celebrated Greek literary writers and other influential intellectuals, which fueled debate in various areas such as ‘man’s place in nature’, eugenics, the nature-nurture controversy, religion, as well as class, race and gender.

In addition, the study reveals that many of these individuals were also considering alternative approaches to these issues based on Darwinian and associated biological post-Darwinian ideas. Their concerns included the Greek “race” or nation, its culture, language and identity; also politics and gender equality.

Zarimis’s monograph devotes considerable space to Xenopoulos (1867-1951), notable novelist, journalist and playwright.

Beginning with Lost Highway, director David Lynch “swerved” in a new direction, one in which very disorienting images of the physical world take center stage in his films. Seeking to understand this unusual emphasis in his work, noted Lynch scholar Martha Nochimson engaged Lynch in a long conversation of unprecedented openness, during which he shared his vision of the physical world as an uncertain place that masks important universal realities. He described how he derives this vision from the Holy Vedas of the Hindu religion, as well as from his layman’s fascination with modern physics.

With this deep insight, Nochimson forges a startlingly original template for analyzing Lynch’s later films—the seemingly unlikely combination of the spiritual landscape envisioned in the Holy Vedas and the material landscape evoked by quantum mechanics and relativity. In David Lynch Swerves, Nochimson navigates the complexities of Lost Highway, The Straight Story, Mulholland Drive, and Inland Empire with uncanny skill, shedding light on the beauty of their organic compositions; their thematic critiques of the immense dangers of modern materialism; and their hopeful conceptions of human potential. She concludes with excerpts from the wide-ranging interview in which Lynch discussed his vision with her, as well as an interview with Columbia University physicist David Albert, who was one of Nochimson’s principal tutors in the discipline of quantum physics.

Proposing new insight into the legacies of Derridean thought for contemporary philosophy

In Art and Dwelling, the second volume of his Dearth sequence, Philippe Lynes sheds new light on the most enduring offshoot of the speculative realist movement, object-oriented ontology. Through careful readings of Graham Harman and Timothy Morton, Lynes shows how Jacques Derrida’s seminars offer critical insights into the spacing and distancing that precede and exceed all human practices of art and dwelling, with a deep sensitivity to the ecological and ethico-political consequences that follow.

Dearth: Deconstruction After Speculative Realism argues that Derrida’s seminars on Martin Heidegger and Maurice Blanchot, La Chose (The Thing), anticipated many of the philosophical, literary, and aesthetic questions animating speculative realism today: an anti-anthropocentric critique of Kantian correlationism; an overcoming of the apocalyptic nihilism of extinction through a deeper, affirmative habituation to nothingness; and poignant reflections on the literary and poetic aspects of living and dying in impossible worlds. His is an anti-correlationist plea that resounds now more urgently than ever.

Proposing a radical reconceptualization of deconstruction and nothingness
 
The first of two volumes exploring Jacques Derrida’s prefiguration of speculative realism, The Nothing and Nothingness examines the transcendental naturalism of Ray Brassier and Iain Hamilton Grant and the speculative materialism of Quentin Meillassoux. Philippe Lynes proposes nothing less than a radical reconceptualization of deconstruction as a call to bear witness to nothingness: let the earth be the earth, let nature be nature, and leave them to their reality, secrecy, and withdrawal without us.
 
Dearth: Deconstruction After Speculative Realism argues that Derrida’s seminars on Martin Heidegger and Maurice Blanchot, La Chose (The Thing), anticipated many of the philosophical, literary, and aesthetic questions animating speculative realism today: an anti-anthropocentric critique of Kantian correlationism; an overcoming of the apocalyptic nihilism of extinction through a deeper, affirmative habituation to nothingness; and poignant reflections on the literary and poetic aspects of living and dying in impossible worlds. His is an anti-correlationist plea that resounds now more urgently than ever.

Decolonial Topophilia: Nature, Place, and History in Puerto Rican Poetry examines how four major poets—Luis Lloréns Torres, Luis Palés Matos, Juan Antonio Corretjer, and Julia de Burgos—address the ecological and human consequences of colonial domination in early twentieth-century Puerto Rico. Their poetry raises questions about the capitalist transformation of land through monocultures like sugarcane, the reduction of nature to exploitable resources, and the ties between attachment to place and nationalism. In tracing these connections, this pathbreaking book reveals how poetic visions of place can challenge colonial histories and imagine more reciprocal ways of inhabiting the world.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

    Director of some of the most controversial films of the twentieth century, Stanley Kubrick created a reputation as a Hollywood outsider as well as a cinematic genius. His diverse yet relatively small oeuvre—he directed only thirteen films during a career that spanned more than four decades—covers a broad range of the themes that shaped his century and continues to shape the twenty-first: war and crime, gender relations and class conflict, racism, and the fate of individual agency in a world of increasing social surveillance and control. 
    In Depth of Field, leading screenwriters and scholars analyze Kubrick's films from a variety of perspectives. They examine such groundbreaking classics as Dr. Strangelove and 2001: A Space Odyssey and later films whose critical reputations are still in flux. Depth of Field ends with three viewpoints on Kubrick's final film, Eyes Wide Shut, placing it in the contexts of film history, the history and theory of psychoanalysis, and the sociology of sex and power. Probing Kubrick's whole body of work, Depth of Field is the first truly multidisciplinary study of one of the most innovative and controversial filmmakers of the twentieth century.

Derek Jarman was the most important independent filmmaker in England during the 1980s. Using emblems and symbols in associative contexts, rather than conventional, cause-and-effect narrative, he created films noteworthy for their lyricism and poetic feeling and for their exploration of the gay experience. His style of filmmaking also links Jarman with other prominent directors of lyric film, including Pier Paolo Pasolini, Andrei Tarkovsky, Jean Cocteau, and Jean Genet.

This pathfinding book places Derek Jarman in the tradition of lyric film and offers incisive readings of all eleven of his feature-length films, from Sebastiane to Blue. Steven Dillon looks at Jarman and other directors working in a similar vein to establish how lyric films are composed through the use of visual imagery and actual poetry. He then traces Jarman's use of imagery (notably mirrors and the sea) in his films and discusses in detail the relationship between cinematic representations and sexual identity. This insightful reading of Jarman's work helps us better understand how films such as The Last of England and The Garden can be said to cohere and mean without being reduced to clear messages. Above all, Dillon's book reveals how truly beautiful and brilliant Jarman's movies are.

How Faulkner, Welty, Lytle, and Gordon reimagined and reconstructed the Native American past in their work.

In this book, Annette Trefzer argues that not only have Native Americans played an active role in the construction of the South’s cultural landscape—despite a history of colonization, dispossession, and removal aimed at rendering them invisible—but that their under-examined presence in southern literature also provides a crucial avenue for a post-regional understanding of the American South. William Faulkner, Eudora Welty, Andrew Lytle, and Caroline Gordon created works about the Spanish conquest of the New World, the Cherokee frontier during the Revolution, the expansion into the Mississippi Territory, and the slaveholding societies of the American southeast. They wrote 100 years after the forceful removal of Native Americans from the southeast but consistently returned to the idea of an "Indian frontier," each articulating a different vision and discourse about Native Americans—wholesome and pure in the vision of some, symptomatic of hybridity and universality for others.

Trefzer contends that these writers engage in a double discourse about the region and nation: fabricating regional identity by invoking the South’s "native" heritage and pointing to issues of national guilt, colonization, westward expansion, and imperialism in a period that saw the US sphere of influence widen dramatically. In both cases, the "Indian" signifies regional and national self-definitions and contributes to the shaping of cultural, racial, and national "others." Trefzer employs the idea of archeology in two senses: quite literally the excavation of artifacts in the South during the New Deal administration of the 1930s (a surfacing of material culture to which each writer responded) and archeology as a method for exploring texts she addresses (literary digs into the textual strata of America’s literature and its cultural history).

An examination of the interconnectedness of brown-racialized people across multiple identities, told through case studies of television, literature, and writing.

As a Filipinx immigrant to the United States, Sony Coráñez Bolton has frequently been mistaken as Mexican. Dos X theorizes such misrecognition. What does it mean to exist in this liminal state, which Coráñez Bolton dubs the “racial uncanny”? What generative possibilities emerge from the presumed interchangeability of Latinx and Filipinx bodies—and from the in-betweenness of brownness as such?

Dos X tracks misrecognition through cultural products like the TV series Undone, Brian Ascalon Roley’s American Son, and the nonfiction work of Jose Antonio Vargas. Misrecognition, Coráñez Bolton argues, produces moments of uncanniness in which subjects experience dysphoric attachments to identities that aren’t supposed to be theirs. In the context of racial capitalism, racial dysphoria is a disability because it undermines certainty about what one’s body is and therefore what role one is meant to play as a laborer. But racial dysphoria can also be revealing. Coráñez Bolton identifies vast potential in this supposed disability, which compels its “sufferers” to confront their shared position within the social, political, and economic organization of capital’s empire, opening new avenues for liberatory solidarity.

While Dostoevsky’s relation to religion is well-trod ground, there exists no comprehensive study of Dostoevsky and Catholicism. Elizabeth Blake’s ambitious and learned Dostoevsky and the Catholic Underground fills this glaring omission in the scholarship. Previous commentators have traced a wide-ranging hostility in Dostoevsky’s understanding of Catholicism to his Slavophilism. Blake depicts a far more nuanced picture. Her close reading demonstrates that he is repelled and fascinated by Catholicism in all its medieval, Reformation, and modern manifestations. Dostoevsky saw in Catholicism not just an inspirational source for the Grand Inquisitor but a political force, an ideological wellspring, a unique mode of intellectual inquiry, and a source of cultural production. Blake’s insightful textual analysis is accompanied by an equally penetrating analysis of nineteenth-century European revolutionary history, from Paris to Siberia, that undoubtedly influenced the evolution of Dostoevsky’s thought.