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The award-winning author of the Hexslinger Series “explores the world of film and horror in a way that will leave you reeling” (Jeff VanderMeer, author of the Southern Reach Trilogy). Former film teacher Lois Cairns is struggling to raise her autistic son while freelancing as a critic when, at a screening, she happens upon a sampled piece of silver nitrate silent footage. She is able to connect it to the early work of Mrs. Iris Dunlopp Whitcomb, the spiritualist and collector of fairy tales who mysteriously disappeared from a train compartment in 1918. Hoping to make her own mark on the film world, Lois embarks on a project to prove that Whitcomb was Canada’s first female filmmaker. But her research takes her down a path not of darkness but of light—the blinding and searing light of a fairy tale made flesh, a noontime demon who demands that duty must be paid. As Lois discovers terrifying parallels between her own life and that of Mrs. Whitcomb, she begins to fear not just for herself, but for those closest to her heart. Winner of the Shirley Jackson Award for Best Novel “One of the standout horror novels of 2015 . . . From an author who has already established herself as one of the genre’s most original and innovative voices, Experimental Film is a remarkable achievement.” —Los Angeles Review of Books “Experimental Film represents the next, significant contribution to what is emerging as one of the most interesting and exciting bodies of work currently being produced in the horror field. Every film, Lois Cairns writes, is an experiment. The same might be said of every novel. This one succeeds, wildly.” —Locus “Experimental Film is sensational. When we speak of the best in contemporary horror and weird fiction, we must speak of Gemma Files.” —Laird Barron “[Experimental Film is] truly unnerving. This is a too-often overlooked postmodern gem.” —Esquire, “The 50 Best Horror Books of All Time”
C. S. Lewis's classic analysis of the experience of reading.
The definitive firsthand account of the groundbreaking research of Philip Zimbardo—the basis for the award-winning film The Stanford Prison Experiment Renowned social psychologist and creator of the Stanford Prison Experiment Philip Zimbardo explores the mechanisms that make good people do bad things, how moral people can be seduced into acting immorally, and what this says about the line separating good from evil. The Lucifer Effect explains how—and the myriad reasons why—we are all susceptible to the lure of “the dark side.” Drawing on examples from history as well as his own trailblazing research, Zimbardo details how situational forces and group dynamics can work in concert to make monsters out of decent men and women. Here, for the first time and in detail, Zimbardo tells the full story of the Stanford Prison Experiment, the landmark study in which a group of college-student volunteers was randomly divided into “guards” and “inmates” and then placed in a mock prison environment. Within a week the study was abandoned, as ordinary college students were transformed into either brutal, sadistic guards or emotionally broken prisoners. By illuminating the psychological causes behind such disturbing metamorphoses, Zimbardo enables us to better understand a variety of harrowing phenomena, from corporate malfeasance to organized genocide to how once upstanding American soldiers came to abuse and torture Iraqi detainees in Abu Ghraib. He replaces the long-held notion of the “bad apple” with that of the “bad barrel”—the idea that the social setting and the system contaminate the individual, rather than the other way around. This is a book that dares to hold a mirror up to mankind, showing us that we might not be who we think we are. While forcing us to reexamine what we are capable of doing when caught up in the crucible of behavioral dynamics, though, Zimbardo also offers hope. We are capable of resisting evil, he argues, and can even teach ourselves to act heroically. Like Hannah Arendt’s Eichmann in Jerusalem and Steven Pinker’s The Blank Slate, The Lucifer Effect is a shocking, engrossing study that will change the way we view human behavior. Praise for The Lucifer Effect “The Lucifer Effect will change forever the way you think about why we behave the way we do—and, in particular, about the human potential for evil. This is a disturbing book, but one that has never been more necessary.”—Malcolm Gladwell “An important book . . . All politicians and social commentators . . . should read this.”—The Times (London) “Powerful . . . an extraordinarily valuable addition to the literature of the psychology of violence or ‘evil.’”—The American Prospect “Penetrating . . . Combining a dense but readable and often engrossing exposition of social psychology research with an impassioned moral seriousness, Zimbardo challenges readers to look beyond glib denunciations of evil-doers and ponder our collective responsibility for the world’s ills.”—Publishers Weekly “A sprawling discussion . . . Zimbardo couples a thorough narrative of the Stanford Prison Experiment with an analysis of the social dynamics of the Abu Ghraib prison in Iraq.”—Booklist “Zimbardo bottled evil in a laboratory. The lessons he learned show us our dark nature but also fill us with hope if we heed their counsel. The Lucifer Effect reads like a novel.”—Anthony Pratkanis, Ph.D., professor emeritus of psychology, University of California
This volume offers introductions to the work of fifteen avant-garde American women filmmakers.
This novel dramatizes an incident that took place in a California school in 1969. A teacher creates an experimental movement in his class to help students understand how people could have followed Hitler. The results are astounding. The highly disciplined group, modeled on the principles of the Hilter Youth, has its own salute, chants, and special ways of acting as a unit and sweeps beyond the class and throughout the school, evolving into a society willing to give up freedom for regimentation and blind obedience to their leader. All will learn a lesson that will never be forgotten.
Experimental Filmmaking emerges out of a deep and abiding love of celluloid and artisanal media practices and a personal exploration of the field of avant-garde and experimental film, animation and video produced since the beginnings of cinema. Although there have been many critical and historical books on the subject, with the exception of zines and hand-published volumes, there has never been a comprehensive instructional manual on experimental processes. This book will introduce film students and professional filmmakers alike to various methods of experimental animation, film and video production that involve material interventions into the normative process of the medium while offering brief introductions to artists and their works.
Renowned psychologist Walter Mischel, designer of the famous Marshmallow Test, explains what self-control is and how to master it. A child is presented with a marshmallow and given a choice: Eat this one now, or wait and enjoy two later. What will she do? And what are the implications for her behavior later in life? The world's leading expert on self-control, Walter Mischel has proven that the ability to delay gratification is critical for a successful life, predicting higher SAT scores, better social and cognitive functioning, a healthier lifestyle and a greater sense of self-worth. But is willpower prewired, or can it be taught? In The Marshmallow Test, Mischel explains how self-control can be mastered and applied to challenges in everyday life -- from weight control to quitting smoking, overcoming heartbreak, making major decisions, and planning for retirement. With profound implications for the choices we make in parenting, education, public policy and self-care, The Marshmallow Test will change the way you think about who we are and what we can be.
This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s Experimental Animation: Origins of a New Art (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. With reference to historical, critical, phenomenological and inter-disciplinary approaches, international researchers offer new and diverse methodologies for thinking through these myriad animation practices. This volume addresses fundamental questions of form, such as drawing and the line, but also broadens out to encompass topics such as the inter-medial, post-humanism, the real, fakeness and fabrication, causation, new forms of synthetic space, ecology, critical re-workings of cartoons, and process as narrative. This book will appeal to cross and inter-disciplinary researchers, animation practitioners, scholars, teachers and students from Fine Art, Film and Media Studies, Philosophy and Aesthetics.
The first comprehensive history in English of film at the Bauhaus, exploring practices that experimented with film as an adaptable, elastic “polymedium.” With Design in Motion, Laura Frahm proposes an alternate history of the Bauhaus—one in which visual media, and film in particular, are crucial to the Bauhaus’s visionary pursuit of integrating art and technology. In the first comprehensive examination in English of film at the Bauhaus, Frahm shows that experimentation with film spanned a range of Bauhaus practices, from textiles and typography to stage and exhibition design. Indeed, Bauhausler deployed film as an adaptable, elastic “polymedium,” malleable in shape and form, unfolding and refracting into multiple material, aesthetic, and philosophical directions. Frahm shows how the encounter with film imbued the Bauhaus of the 1920s and early 1930s with a flexible notion of design, infusing painting with temporal concepts, sculptures with moving forms, photographs with sequential aesthetics, architectural designs with a choreography of movement. Frahm considers, among other things, student works that explored light and the transparent features of celluloid and cellophane; weaving practices that incorporate cellophane; experimental films, social documentaries, and critical reportage by Bauhaus women; and the proliferation of film strips in posters, book covers, and other typographic work. Viewing the Bauhaus’s engagement with film through a media-theoretic lens, Frahm shows how film became a medium for “design in motion.” Movement and process, rather than stability and fixity, become the defining characteristics of Bauhaus educational, aesthetic, and philosophical ethos.