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A multidisciplinary index covering the journal literature of the arts and humanities. It fully covers 1,144 of the world's leading arts and humanities journals, and it indexes individually selected, relevant items from over 6,800 major science and social science journals.
Daniel Day Lewis, Tilda Swinton, Kate Winslet and Alan Rickman star in Cinema, a novel that explores the hitherto unrecognized relationships between acting, writing, performance, being, office politics, restructures, and corporate thinking about new ways of working. Nick Clement, former small-time circus impresario, is resigned to his existence in a valueless bureaucracy where he learns the new languages of activity-based working, collaborative spaces and cross-functional engagement. Clement and his new colleague, Claire, are tasked by the company with undertaking a whole-of-business analysis of where operational improvements can be made. In the face of this opportunity to demonstrate his executive potential, Clement's life takes a turn when he meets Claire's film director boyfriend, James McNeil. McNeil has written a screenplay of such overwhelming complexity and beauty it seems it could never be realized. The screenplay is picked up and financed by a well-established and ambitious English film producer, who is able, because of the ground-breaking nature of the work, to engage four of the finest actors of their generation to commit to the project. There is one role in the cast that is unable to be filled, that of Friedrich Engels, the great comrade of Daniel Day Lewis' Karl Marx. Nick Clement is, against his better judgment, thrown into a film production that will change the course of cinema forever. Cinema will take you to Sydney, London, the Sachsenwald Forest outside Hamburg, and Los Angeles as it explores the birth of Communism, Germanic-Gypsy history, and an invisible writing that foretold a great literature of the future. It will take you across the Atlantic in a medieval replica sailing boat hand-made by the the most admired actor of the last 40 years. In essence, Cinema outlines a never-ending performative process of being.
After 45 years, Steven Spielberg's Jaws remains the definitive summer blockbuster, a cultural phenomenon with a fierce and dedicated fan base. The Jaws Book: New Perspectives on the Classic Summer Blockbuster is an exciting illustrated collection of new critical essays that offers the first detailed and comprehensive overview of the film's significant place in cinema history. Bringing together established and young scholars, the book includes contributions from leading international writers on popular cinema including Murray Pomerance, Peter Krämer, Sheldon Hall, Nigel Morris and Linda Ruth Williams, and covers such diverse topics as the film's release, reception and canonicity; its representation of masculinity and children; the use of landscape and the ocean; its status as a western; sequels and fan-edits; and its galvanizing impact on the horror film, action movie and contemporary Hollywood itself.
Liam O'Flaherty's novel The Informer (1925) is what the author of this fascinating study calls a "mythogenic text" - one that lends itself easily to adaptations, recreations and renditions. To date there have been four film versions (Arthur Robison 1929, John Ford 1935, Jules Dassin 1968, Michael Byrne 1992) and at least as many stage versions. One of the reasons the novel has proved so attractive to filmmakers is that it was itself written with an eye on the silent expressionist cinema of the day. All too often O'Flaherty has been regarded as a hard realist who drew the great vigor of his art from the native Gaelic culture of oral storytelling. In fact, he was much more at home in the linked gestural and visual language of melodrama and the silent cinema. As Patrick Sheeran amply demonstrates, the central antagonism between O'Flaherty's Hardman (Gypo Nolan) and the Gunman (Commandant Dan Gallagher) has provided dramatists and filmmakers with a compelling way of staging political conflict - not only in Ireland but in Weimar Germany and in the inner-city ghettoes of Afro-America as well.
David Cronenberg has made a career of exploring the darker side of eroticism. "Stereo," "Crimes of the Future," and "Rabid" gave initial form to his fascination with the psychological aspects of death, disease, lust, and power. And, in 1975 "Shivers" gained Cronenberg widespread recognition and notoriety for his exceptionally chilling expressions of society's fears about the sexual revolution and its long-term ramifications.
Pop music meets the media... This issue is dedicated to a social and cultural phenomenon that we could call the 'mediatization of pop music'. With a particular focus on the1960s and 1970s, it is our contention that these two decades significantly shaped our current mediatized culture both in its form and content. Since then, instead of political or confessional organisations, it was popular media and music that offered the contact point between public and private spheres, between the personal and the political, and this shift should be reconsidered as a focal trope in modern culture. We hope to widen the notion of mediatization by highlighting a range of historical processes that have had phenomenological after-effects: the experiential prototypes that were developed during this pivotal period later became persistent paradigms, and paved the way for the mediatized world we still live in.
A special issue of Cinéma&Cie which aims at tracing experiences of women's practices at the intersection of cinema and the arts by intertwining a theoretical and historical approach, analyzing cases studies from the mid-twentieth century up to our present moment.