An inspiring memoir about the art and the gift of reading, this compilation of essays shares Andrew Relph's life story via the books the author has encountered, beginning with those he read as if his life depended on it after struggling with a reading disability. From Amis to Bellow, Blake to Gallico, and Shakespeare to Woolf, these explorations ask why it is that books are so important to us and why our relationships with writers and characters can be as vital as any we form in “real life.” As it studies the psychological solace of books, this narrative also introduces classic and contemporary literature guaranteed to intrigue all book lovers.
Film Noir is an overview of an often celebrated, but also contested, body of films. It discusses film noir as a cultural phenomenon whose history is more extensive and diverse than American black and white crime thrillers of the forties. An extended Background Chapter situates film noir within its cultural context, describing its origin in German Expressionism, French Poetic Realism and in developments within American genres, the gangster/crime thriller, horror and the Gothic romance and its possible relationship to changes in American society. Five chapters are devoted to ‘classic’ film noir (1940-59): chapters explore its contexts of production and reception, its visual style, and its narrative patterns and themes chapters on character types and star performances elucidate noir’s complex construction of gender with its weak, ambivalent males and predatory femmes fatales and also provide a detailed analysis of three noir auteurs, - Anthony Mann, Robert Siodmak and Fritz Lang Three chapters investigate ‘neo-noir’ and British film noir: chapters trace the complex evolution of ‘neo-noir’ in American cinema, from the modernist critiques of Night Moves and Taxi Driver, to the postmodern hybridity of contemporary noir including Seven, Pulp Fiction and Memento the final chapter surveys the development of British film noir, a significant and virtually unknown cinema, stretching from the thirties to Mike Hodges’ Croupier Films discussed include both little known examples and seminal works such as Double Indemnity, Scarlet Street, Kiss Me Deadly and Touch of Evil. A final section provides a guide to further reading, an extensive bibliography and a list of over 500 films referred to in the text. Lucidly written, Film Noir is an accessible, informative and stimulating introduction that will have a broad appeal to undergraduates, cinéastes, film teachers and researchers.
Typical Men is the first book length study of masculinity in British cinema and offers a broad and lively overview from the Second World War to the present day. Spicer argues that masculinity in popular fiction can best be understood as a range of dynamic and competing cultural types which rise and fall in relation to shifting patterns of film production, audience taste and social change. Specific chapters are devoted to each of the major types debonair gentlemen, civilian professionals, action adventurers, the Ever yma n, Fools and Rogues, criminals, rebels and damaged men - which trace their changing histories through innovative readings of key films, together with a fresh look at the performances of particular stars including James Mason, Kenneth More, Michael Caine and Sean Connery. A final chapter explores the complex and hybrid types that have evolved within a volatile and unstable contemporary British cinema, now part of an array of interrelated media images of masculinity. Typical Men will be of keen interest to those concerned with the cultural history of gender, and its detailed and carefully contextualised interpretations of films afford a reappraisal of British cinema history, especially the neglected and despised 1950s. 'Andrew Spicer's Typical Men is a major intervention in debates about masculinity in the cinema. It takes a lot of intellectual risks, and locates cinematic stereotypes of masculinity in a cinematic and cultural context. It is trenchant and original, and redefines the field of gender representation.' – Sue Harper, Professor of Film History, University of Portsmouth 'The strength of this elegantly and wittily written book is that, in the precision of its detail about individual performances, actors and films, it never loses sight of its argumentative threads.' – Brian McFarlane, Screening the Past
Film noir_literally 'black cinema'_is the label customarily given to a group of black and white American films, mostly crime thrillers, made between 1940 and 1959. Today there is considerable dispute about what are the shared features that classify a noir film, and therefore which films should be included in this category. These problems are partly caused because film noir is a retrospective label that was not used in the 1940s or 1950s by the film industry as a production category and therefore its existence and features cannot be established through reference to trade documents. The Historical Dictionary of Film Noir is a comprehensive guide that ranges from 1940 to present day neo-noir. It consists of a chronology, an introductory essay, a bibliography, a filmography, and over 400 cross-referenced dictionary entries on every aspect of film noir and neo-noir, including key films, personnel (actors, cinematographers, composers, directors, producers, set designers, and writers), themes, issues, influences, visual style, cycles of films (e.g. amnesiac noirs), the representation of the city and gender, other forms (comics/graphic novels, television, and videogames), and noir's presence in world cinema. It is an essential reference work for all those interested in this important cultural phenomenon.
From the earliest "velocipedes" through the advent of the pneumatic tire to the rise of modern road and track competition, this history of the sport of bicycle racing traces its role in the development of bicycle technology between 1868 and 1903. Providing detailed technical information along with biographies of racers and other important personalities, the book explores this thirty-year period of early bicycle history as the social and technical precursor to later developments in the motorcycle and automobile industries.
Sean Connery was one of cinema’s most iconic stars. Born to a working-class family in Edinburgh, he held jobs as a milkman and an artist’s model before making the move into acting. The role of James Bond earned him global fame, but threatened to eclipse his identity as an actor. This book offers a new perspective on Connery’s career. It pays special attention to his star status, while arguing that he was a risk-taking actor who fashioned an impressive body of work. Beginning with Connery’s early appearances on stage and television, including well-received performances in Shakespeare and Tolstoy, the book goes on to explore the Bond phenomenon and Connery’s long struggle to reinvent himself. An Oscar-winning performance in The Untouchables marked the beginning of a second period of stardom, during which Connery successfully developed the character of the father-mentor. Ten years after his retirement from acting, he was still rated as the most popular British star among American audiences. Exploring how Connery’s performances combine to form an all-encompassing screen legend, the book also considers how the actor embodied national identity, both on screen and through his public role as an activist campaigning for Scottish independence.
Garden Festivals are more than temporary horticultural expositions. Complex and phased, these projects have additional significance as planning stratagems, reclamation projects, public art venues, and precursors of new urban parks. Their scope extends well beyond that implied by the term ‘garden festival’. Typically exceeding 50 hectares, they stimulate development and steer site design through a unique merger of domestic garden culture with a large-scale urban project. A general discussion of the origins, formative elements and chronology of the generic event followed by cross-cultural reviews and analyses of numerous recent festivals and their site legacies form the core of this first comprehensive book on the subject. Recent installations have been responsive to the ascendance of open space as a critical planning element while forthcoming events now develop in the midst of a trend towards the holistic initiatives of urban landscape planning, giving them a renewed relevance for urban design. The author has explored over fifteen festival sites and documents this study using government reports, interview transcripts, thematic maps, master plans, and other primary source material.
Drawing on previously classified government records, the authors reveal that for over 150 years, Canada has run spy operations largely hidden from public or parliamentary scrutiny - complete with undercover agents, secret sources, agent provocateurs, coded communications, elaborate files, and all the usual apparatus of deception and betrayal so familiar to fans of spy fiction. As they argue, what makes Canada unique among Western countries is its insistent focus of its surveillance inwards, and usually against Canadian citizens.
This book includes revised dissertation chapters from the author’s (second) PhD, which was awarded in 2020 by Murdoch University, Australia. It also includes three chapters summarising recent developments. This was an innovative, transdisciplinary, research project, using phenomenology as the over-arching meta-paradigm. The investigation involved collaborations and literature reviews across numerous disciplines, including philosophy, geography, ethnoecology, sociology and cultural studies. The book discusses three landscape language (ethnophysiography) case studies with Indigenous peoples in Australia and the USA. It features a detailed discussion of transdisciplinarity and provides a comprehensive example of how this approach can be applied to complex dwelling relationships, which people, from different cultures, have with specific topographic environments, turning terrain into landscape. It involves using phenomenology as a transdisciplinary meta-paradigm and describes phenomenological methods for integrating physical and social sciences, including an analysis of the worldviews of Indigenous peoples (for example, Manyjilyjarra Jukurrpa as Heideggerian topology).
Idols of the Odeons examines British film stardom in the post-war era, a time when Hollywood movies were increasingly supplanting the Pinewood/Elstree studio system. The book encompasses the careers of sixteen actors, including Stanley Baker, Diana Dors, Norman Wisdom, Hattie Jacques, Peter Finch and Peter Sellers. Such extremely diverse careers provide the opportunity to explore overlooked films, in addition to examining how the term ‘star’ could apply to a stalwart leading man, a Variety comic, a self-created ‘Vamp’ and a character actor. Above all, this is a book that celebrates, with idiosyncratic humour and warmth, how these actors accomplished much of their best work during the transitional period between the Rank/ABPC roster of stars and the US domination of the British film industry.
The term 'edge city' describes the rapid growth of urban centres at the edge of established cities. Widely discussed in the US, very little has been written about European edge cities. This book gives a comparative analysis of examples in Greece, Spain, Paris, Finland and the UK, with a theoretical analysis of edge cities and post-suburban Europe.
Health Geographies: A Critical Introduction explores health and biomedical topics from a range of critical geographic perspectives. Building on the field’s past engagement with social theory it extends the focus of health geography into new areas of enquiry. Introduces key topics in health geography through clear and engaging examples and case studies drawn from around the world Incorporates multi-disciplinary perspectives and approaches applied in the field of health geography Identifies both health and biomedical issues as a central area of concern for critically oriented health geographers Features material that is alert to questions of global scale and difference, and sensitive to the political and economic as well sociocultural aspects of health Provides extensive pedagogic materials within the text and guidance for further study
This is an authoritative account of the career of Sydney Box, one of British cinema's most successful and significant producers. Concentrating on the period 1940-65, it highlights the crucial but often misunderstood role that the producer plays in the film making process and, using largely unpublished material, affords an exceptional insight into the workings of the film industry. This study will be essential reading for scholars and students interested in British cinema and television history, but its focus on the frequently misrepresented or misunderstood role of the producer will make it valuable for students of film generally.
Canada's last experience with national urban policy-making was in the 1970s. The authors focus on what has happened since, exploring how both our city-regions and our ideas about the urban policy-making process have changed. The authors also examine both the past and present roles of the federal government, and what it can and should do in the future. Contributors include Caroline Andrew, Paul Born (Tamarack Institute for Community Engagement, Cambridge), Kenneth Cameron (FCIP, Policy and Planning, Greater Vancouver Regional District), W. Michael Fenn, (Ontario Deputy Minister of Municipal Affairs and Housing), Pierre Filion (University of Waterloo), Katherine Graham, Pierre Hamel (Université de Montréal), Christopher Leo (University of Winnipeg), Barbara Levine (World University Service of Canada), Sherilyn MacGregor (PhD, Environmental Studies, York University), Warren Magnusson (University of Victoria), Beth Moore Milroy (Toronto Metropolitan University), Merle Nicholds (former Mayor of Kanata), Evelyn Peters (University of Saskatchewan), Susan Phillips, Valerie Preston (York University), Andrew Sancton (University of Western Ontario), Lisa Shaw (Canadian Centre for Policy Alternatives), Enid Slack (Enid Slack Consulting Inc.), Sherri Torjman (Caledon Institute of Social Policy), Carolyn Whitzman (doctoral candidate, School of Geography and Geology, McMaster University), David Wolfe (University of Toronto), and Madeleine Wong (University of Wisconsin).
Any listener knows the power of music to define a place, but few can describe the how or why of this phenomenon. In Lonesome Roads and Streets of Dreams: Place, Mobility, and Race in Jazz of the 1930s and ’40s, Andrew Berish attempts to right this wrong, showcasing how American jazz defined a culture particularly preoccupied with place. By analyzing both the performances and cultural context of leading jazz figures, including the many famous venues where they played, Berish bridges two dominant scholarly approaches to the genre, offering not only a new reading of swing era jazz but an entirely new framework for musical analysis in general, one that examines how the geographical realities of daily life can be transformed into musical sound. Focusing on white bandleader Jan Garber, black bandleader Duke Ellington, white saxophonist Charlie Barnet, and black guitarist Charlie Christian, as well as traveling from Catalina Island to Manhattan to Oklahoma City, Lonesome Roads and Streets of Dreams depicts not only a geography of race but how this geography was disrupted, how these musicians crossed physical and racial boundaries—from black to white, South to North, and rural to urban—and how they found expression for these movements in the insistent music they were creating.
In this, the first sociology book to consider the important issue of how children identify with place and nation, the authors use original research and international case studies to explore this topic in depth. The book is rooted in original qualitative research the authors conducted with a diverse sample of children (aged eight to eleven) across Wales, but this data is also located in the context of existing international research on place identity. The book features analysis of lively exchanges between children on their local, national and global identities, politics, language and race. It engages with important social and political questions such as whether cultural distinctiveness can be preserved in a context of globalization, whether we are destined to passively receive dominant representations of the nation or can creatively construct our own versions; and whether national identities are necessarily exclusive. Most importantly, the book focuses on what local and national identities mean to children in an era of cultural and economic globalization. Including material on racialization, language, politics, class and gender, Children, Place and Identity will be a valuable resource to students and researchers of childhood studies and the sociology of childhood.
Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914–19.
In an era of climate change, deforestation, melting ice caps, poisoned environments, and species loss, many people are turning to the power of the arts and humanities for sustainable solutions to global ecological problems. Introduction to the Environmental Humanities offers a practical and accessible guide to this dynamic and interdisciplinary field. This book provides an overview of the Environmental Humanities’ evolution from the activist movements of the early and mid-twentieth century to more recent debates over climate change, sustainability, energy policy, and habitat degradation in the Anthropocene era. The text introduces readers to seminal writings, artworks, campaigns, and movements while demystifying important terms such as the Anthropocene, environmental justice, nature, ecosystem, ecology, posthuman, and non-human. Emerging theoretical areas such as critical animal and plant studies, gender and queer studies, Indigenous studies, and energy studies are also presented. Organized by discipline, the book explores the role that the arts and humanities play in the future of the planet. Including case studies, discussion questions, annotated bibliographies, and links to online resources, this book offers a comprehensive and engaging overview of the Environmental Humanities for introductory readers. For more advanced readers, it serves as a foundation for future study, projects, or professional development.
The double act has been at the heart of the British entertainment scene for over 150 years: from its start in the music halls, through radio shows such as Hancock's Half Hour playing in virtually every household and on cinema and television, from Carry On films to Withnail and I. Explore the influence of comedy duos on their audience and how their performances evolved over time, the importance of the subtle art of the straight man next to the comic and discover some acts who might have passed you by. This book is a tribute to the comedians who have entertained the public for so long, dedicating their lives to adding a bit of laughter to the mundane everyday. The Double Act will appeal to all lovers of British comedy as it takes them through the golden moments of its history.
Foreword / by James C. Giesen -- Introduction : a more rural metropolitan history -- Clearing the backwoods -- Cultivating the fringe -- Damming the hinterlands -- Settling the forest -- Enshrining the countryside -- Conclusion : a tale of two villages.
Drawing on a wide range of archival sources, Andrew Shail traces the emergence of film stardom in Europe and North America in the early 20th century. Modifying and supplementing Richard deCordova's account of the birth of the US star system, Shail describes the complex set of economic circumstances that led film studios and actors to consent to the adoption of a star system. He then explores the film industry's turn, from 1908, to making character-based series films. He details how these characters both prefigured and precipitated the star system, demonstrating that series characters and the 'firmament' of film stars are functionally equivalent, and shows how openly fictional characters still provide the model for 'real' film stars.
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