With a broad scope across the millennia, from high literature to popular culture, between page and stage and screen, this Very Short Introduction considers comedy not only as a literary genre, but also as a broader impulse at work in many other historical and contemporary forms of satire, parody, and play.
Companion volume to Cinemeducation Volume 1 Cinemeducation, Volume 2 outlines a comprehensive approach to using film in graduate and medical education. It provides readers with a wide array of film excerpts ready for immediate application in the classroom. Each excerpt includes the counter time, year of release, names of actors, a short description of the movie and the scene being highlighted as well as discussion questions. Entire chapters are dedicated to reality television, mainstream television, music videos, documentaries and YouTube. Clearly structured, this second volume dives deep into human experiences. Authors from five continents have composed 49 chapters devoted to a wide assortment of new topics relevant to medical and postgraduate healthcare education. Some of the specific issues covered include substance abuse, gambling, dealing with tragedy, diabetes, heart disease, chronic illness and obstetrics as well as mental health problems. Some films portray health care professionals both positively and negatively and these are presented with rich detail. A wide variety of specialties and different health careers are covered. All of these areas converge on the common ground of compassion in the medical experience. This book is ideal for the undergraduate or postgraduate classroom. All healthcare educators will appreciate its comprehensive scope and innovative approach, including those in psychology, social services, dentistry and veterinary science.
We’ve never had better access to movies than we do today. Thanks to streaming services, video-on-demand, boutique physical media, repertory theaters, and the wild frontiers of the internet, we have ready access to a huge range of titles—Hollywood classics, art films from around the world, and audacious contemporary works are all right at our fingertips. Yet, despite this embarrassment of riches, most of us gravitate to the popular and familiar, barely scratching the surface of what’s available. According to philosopher Matthew Strohl, we’re doing ourselves a disservice by overlooking the range of so-called “difficult” movies. Hard to Watch is a joyous celebration of cinema that might seem boring, pretentious, or offensive at first glance but that offers its own distinctive rewards when we give ourselves over to it. Writing with infectious enthusiasm—and a refreshing lack of condescension—Strohl discusses everything from the challenging late works of beloved directors like Terrence Malick and David Lynch to such visionary but divisive films as Alain Resnais’s Muriel, or the Time of Return, Chantal Akerman’s Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, and Julia Ducournau’s Titane, evocatively showing why they're worth the time and effort to engage with, and how to get the most out of them. Whether you’re a film lover looking to step up your game or just someone who’s bored with Netflix, Hard to Watch is a brisk and accessible guide to expanding your horizons.
Answering the eternal question... WHAT TO WATCH NEXT? Looking for a box set to get your adrenaline racing or to escape to a different era? In need of a good laugh to lift your spirits? Hunting for a TV show that the whole family can watch together? If you're feeling indecisive about your next binge-watching session, we've done the hard work for you. Featuring 1,000 carefully curated reviews written by a panel of TV connoisseurs, What To Watch When offers up the best show suggestions for every mood and moment.
Explores the culture that made military shooter video games popular, and key in understanding the War on Terror No video game genre has been more popular or more lucrative in recent years than the “military shooter.” Franchises such as Call of Duty, Battlefield, and those bearing Tom Clancy’s name turn over billions of dollars annually by promising to immerse players in historic and near-future battles, converting the reality of contemporary conflicts into playable, experiences. In the aftermath of 9/11, these games transformed a national crisis into fantastic and profitable adventures, where seemingly powerless spectators became solutions to these virtual Wars on Terror. Playing War provides a cultural framework for understanding the popularity of military-themed video games and their significance in the ongoing War on Terror. Matthew Payne examines post-9/11 shooter-style game design as well as gaming strategies to expose how these practices perpetuate and challenge reigning political beliefs about America’s military prowess and combat policies. Far from offering simplistic escapist pleasures, these post-9/11 shooters draw on a range of nationalist mythologies, positioning the player as the virtual hero at every level. Through close readings of key games, analyses of marketing materials, and participant observations of the war gaming community, Playing War examines an industry mobilizing anxieties about terrorism and invasion to craft immersive titles that transform international strife into interactive fun.
He defined an era and still helps define a nation, Michael Caine is a cult figure, an icon and a cinematic heavyweight, who has given some of the greatest big-screen performances on either side of the Atlantic. This book is a celebration, documentation, and fascinating insight into the performances that made that icon - the story behind the roles, the reactions, the influences, and - in some cases - the backlash, plus quotes from the man himself on his performances and from those he worked with. Caine has made over 80 films in his career, and all are covered here, from the early British successes of Zulu, The Italian Job, and his hugely influential gangster portrayal in Get Carter through the maturity of Hannah and her Sisters, the doomed stinkers such as The Swarm and back to his best with Cider House Rules and The Quiet American. Author Matthew Field, who has interviewed Caine, shows his enthusiasm and detailed research of the actor's work in a book that is not only for the fans of the man himself, but for those with a love of cinema and the craft of acting itself.
Joan Blondell: A Life between Takes is the first major biography of the effervescent, scene-stealing actress (1906-1979) who conquered motion pictures, vaudeville, Broadway, summer stock, television, and radio. Born the child of vaudevillians, she was on stage by age three. With her casual sex appeal, distinctive cello voice, megawatt smile, luminous saucer eyes, and flawless timing, she came into widespread fame in Warner Bros. musicals and comedies of the 1930s, including Blonde Crazy, Gold Diggers of 1933, and Footlight Parade. Frequent co-star to James Cagney, Clark Gable, Edward G. Robinson, and Humphrey Bogart, friend to Judy Garland, Barbara Stanwyck, and Bette Davis, and wife of Dick Powell and Mike Todd, Joan Blondell was a true Hollywood insider. By the time of her death, she had made nearly 100 films in a career that spanned over fifty years. Privately, she was unerringly loving and generous, while her life was touched by financial, medical, and emotional upheavals. Joan Blondell: A Life between Takes is meticulously researched, expertly weaving the public and private, and features numerous interviews with family, friends, and colleagues.
The first pop reference book to capture the spirit of the 80s experience, Totally Awesome 80s chronicles not only pop music but also the faces, places, fads, fashions, movies, television shows, toys, and videos that defined the "Greed Decade". From skinny ties to Valspeak to the birth of MTV, no 80s cultural trend is overlooked in this comprehensive tribute to all things 80s. 300 photos.
Tracing the "American Guerrilla" narrative through more than one hundred years of film and television, this book shows how the conventions and politics of this narrative influence Americans to see themselves as warriors, both on screen and in history. American guerrillas fight small-scale battles that, despite their implications for large-scale American victories, often go untold. This book evaluates those stories to illumine the ways in which film and television have created, reinforced, and circulated an "American Guerrilla" fantasy—a mythic narrative in which Americans, despite having the most powerful military in history, are presented as underdog resistance fighters against an overwhelming and superior occupying evil. Unconventional Warriors: The Fantasy of the American Resistance Fighter in Television and Film explains that this fantasy has occupied the center of numerous war films and in turn shaped the way in which Americans see those wars and themselves. Informed by the author's expertise on war in contemporary literature and popular culture, this book begins with an introduction that outlines the basics of the "American Guerrilla" narrative and identifies it as a recurring theme in American war films. Subsequent chapters cover one hundred years of American "guerrillas" in film and television. The book concludes with a chapter on science fiction narratives, illustrating how the conventions and politics of these stories shape even the representation of wholly fictional, imagined wars on screen.
What was eating them? And vice versa. In What the Great Ate, Matthew and Mark Jacob have cooked up a bountiful sampling of the peculiar culinary likes, dislikes, habits, and attitudes of famous—and often notorious—figures throughout history. Here is food • As code: Benito Mussolini used the phrase “we’re making spaghetti” to inform his wife if he’d be (illegally) dueling later that day. • As superstition: Baseball star Wade Boggs credited his on-field success to eating chicken before nearly every game. • In service to country: President Thomas Jefferson, America’s original foodie, introduced eggplant to the United States and wrote down the nation’s first recipe for ice cream. From Emperor Nero to Bette Davis, Babe Ruth to Barack Obama, the bite-size tidbits in What the Great Ate will whet your appetite for tantalizing trivia.
Early in the century, Marie Dressler was hailed as one of America's finest comics, with a 20-year string of Broadway and vaudeville successes including The Lady Slavey, Miss Prinnt, Higgledy Piggledy, The Man in the Moon, and Tillie's Nightmare. She starred with Charlie Chaplin in the first ever feature-length comedy Tillie's Punctured Romance and later in Min and Bill for which she won an Academy Award. A brilliant comedienne in body, timing, inflection and reactions, her talents far exceeded the expectations of slapstick, and her movies earned sums far greater than those of Garbo, or Harlow, or even Gable. This work examines Dressler's life from vaudeville to talkies. Based on extensive research and interviews with Dressler's surviving friends, co-stars and colleagues, including Maureen O'Sullivan, Jackie Cooper and Anita Page, it details her public and personal successes and failures. A listing of her stage appearances, vocal recordings and films is included.
MARVEL Spider-Man: A History and Celebration of the Web-Slinger, Decade by Decade encapsulates all of the history, art, and memories of everybody’s friendly neighborhood Spider-Man.
This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations. Research has shown that young babies - well before they form their first bond to a caring adult - enjoy participating in groups and group processes. Babies in Groups examines the consequences of these findings for science, for early education practice and policy, and for adult psychotherapy. The authors report research showing the extensive capacity of preverbal infants for group-communication in all-baby trios and quartets, backed by findings about primate sociability, the social brain, cultural histories, and human evolution. These studies open up new ways of imagining human development as fundamentally group-based. In addition, the authors explore the changes that a group-based vision of infancy could bring to early child education and care. They also show how ignoring group contexts in many clinical traditions can distort descriptions of what happens in therapy, producing such unintended consequences as 'mother-blaming' for the future problems an infant may experience as she or he grows up. Finally, the book's appendix summarises the main forms of evidence which falsify claims that science has proven that an inborn gift for dyadic 'intersubjectivity,' or for one-to-one infant-adult attachments, founds human social development.
Electronic Inspection Copy available for instructors here Presented with the latest thinking and research on how children acquire their first language, the reader is taken from a standing start to the point where they can engage with key debates and current research in the field of child language. No background knowledge of linguistic theory is assumed and all specialist terms are introduced in clear, non-technical language. A theme running through the book is the nature-nurture debate, rekindled in the modern era by Noam Chomsky, with his belief that the child is born with a rich knowledge of language. This book is rare in its balanced presentation of evidence from both sides of the nature-nurture divide. The reader is encouraged to adopt a critical stance throughout and weigh up the evidence for themselves. Key features for the student include: boxes and exercises to foster an understanding of key concepts in language and linguistics; a glossary of key terms; suggestions for further reading; a list of useful websites at the end of each chapter; discussion points for use in class; and separate author and subject indexes.
INSTANT #1 NEW YORK TIMES BESTSELLER #1 INTERNATIONAL BESTSELLER The BELOVED STAR OF FRIENDS takes us behind the scenes of the hit sitcom and his struggles with addiction in this “CANDID, DARKLY FUNNY...POIGNANT” memoir (The New York Times) A MOST ANTICIPATED BOOK by Time, Associated Press, Goodreads, USA Today, and more! “Hi, my name is Matthew, although you may know me by another name. My friends call me Matty.” So begins the riveting story of acclaimed actor Matthew Perry, taking us along on his journey from childhood ambition to fame to addiction and recovery in the aftermath of a life-threatening health scare. Before the frequent hospital visits and stints in rehab, there was five-year-old Matthew, who traveled from Montreal to Los Angeles, shuffling between his separated parents; fourteen-year-old Matthew, who was a nationally ranked tennis star in Canada; twenty-four-year-old Matthew, who nabbed a coveted role as a lead cast member on the talked-about pilot then called Friends Like Us. . . and so much more. In an extraordinary story that only he could tell—and in the heartfelt, hilarious, and warmly familiar way only he could tell it—Matthew Perry lays bare the fractured family that raised him (and also left him to his own devices), the desire for recognition that drove him to fame, and the void inside him that could not be filled even by his greatest dreams coming true. But he also details the peace he’s found in sobriety and how he feels about the ubiquity of Friends, sharing stories about his castmates and other stars he met along the way. Frank, self-aware, and with his trademark humor, Perry vividly depicts his lifelong battle with addiction and what fueled it despite seemingly having it all. Friends, Lovers, and the Big Terrible Thing is an unforgettable memoir that is both intimate and eye-opening—as well as a hand extended to anyone struggling with sobriety. Unflinchingly honest, moving, and uproariously funny, this is the book fans have been waiting for.
It’s the best of the worst: 293 of the funniest cartoons rejected by The New Yorker but luckily for us, now in paperback and available to enjoy. The Rejection Collection brings together some of The New Yorker’s brightest talents—Roz Chast, Gahan Wilson, Sam Gross, Jack Zeigler, David Sipress, and more—and reveals their other side. Their dark side. Their juvenile side. Their sick side. Their naughty side. Their outrageous side. And what a treat. Ventriloquist dummy cartoons. Operating room cartoons. Bring your daughter to work day cartoons (the stripper, the prison guard on death row). Lots of couples in bed, quite a few coffins, wise-cracking animals—an obsessive’s plumbing of the weird, the scary, the off-the-wall, and done so without restraint. Every week The New Yorker receives 500 cartoon submissions, and rejects a great majority—mostly, of course, for not being funny enough. There’s no question why these were rejected, and it’s not for lack of laughs. One can almost hear Eustace Tilley sniffing, We are not amused.
In Music Hall Mimesis in British Film, 1895-1960, Dr. St. Pierre examines strategies of representing British music hall performance (1854-1919) and the performance of the body in British cinema in the silent era (1895-1927) and the sound era (1927-60). The focus is on films of Fred and Joe Evans, Frank Randle, Will Hay, George Formby, Arthur Lucan and Kitty McShane, Cicely Courtneidge, Jessie Matthews, Norman Evans, Max Miller, Stanley Holloway, Jack Warner, Gracie Fields, and Charles Chaplin. Consideration is given to themes such as war propaganda and gender impersonation.
Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father’s name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance—sets, lighting, photography, shot breakdowns, editing—and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.
After spending nearly a quarter of a lifetime watching popular and independent films, Matthew King, RN, makes a point to criticize the Christian church for its lack of engagement with films. He believes that the lack of engagement and the strong denunciation of films only because of their sexual or violent content has lost an entire generation because of the inability to speak the millennial language of popular Hollywood films. With searing prose and biting confrontation, King attempts to engage films through the lens of theology, philosophy, and political analysis to assist the church in identifying positive as well as negative examples of the topics within to better engage an entire generation. Through this investigation, Christians and non-Christians alike will be both enlightened and surprised at what popular films have unconsciously taught them from a young age.
Controversial yet beloved among audiences, Christmas-themed horror movies emerged in the early 1970s and gained a notorious reputation with Silent Night, Deadly Night (1984), depicting Santa as an ax-wielding maniac. Some parents and conservative groups condemned the film, while others embraced the portrayal of Yuletide as a backdrop for fear and dread. Drawing on interviews with directors, producers, special effects artists, photographers and actors, this book celebrates the sordid, colorful history of the Christmas horror subgenre. Psycho Santa films such as Christmas Evil (1980) and 3615 code Pere Noel (1989) are examined, along with "Yule-Die" slashers like The Dorm that Dripped Blood (1982), Black Christmas (1974) and Silent Night, Bloody Night (1972). Commercial successes like Gremlins (1984) and Rare Exports: A Christmas Tale (2010) are covered, as well as more recent releases such as Better Watch Out (2016), Red Christmas (2016) and Deathcember (2019). Rare photographs, promotional materials and an annotated filmography are provided.
Abbott and Costello were the most popular comedians of the 1940s, with burlesque-inspired routines that enthralled audiences on both radio and television. Oddly, their films have not received the same level of attention from critics and writers as those of other comedy teams. This book is a scene-by-scene, film-by-film guide to their movies, making a compelling case for their inclusion at the very top of comic artists. Featuring new research and some surprising revelations, the book introduces newcomers to the delights of this uproarious team and provides confirmed fans with the ultimate companion to their work. Also included is a foreword by John Landis, the celebrated director and Abbott and Costello devotee.
Have you ever watched a Marx Brothers film and wondered what "habeas Irish rose" is? What is the trial of Mary Dugan with sound? What is a college widow? When exactly did Don Ameche invent the telephone? Their films are full of such in-jokes and obscure theatrical, literary and topical references that can baffle modern audiences. In this viewer's guide to the Marx Brothers you will find the answer to such mysteries, along with an exhaustive compilation of background information, obscure trivia and even the occasional busted myth. Each of the Marx Brothers' 13 films is covered by a running commentary, with points in the film discussed as they appear. Each reference is listed by its running time, with time code given for both PAL and NTSC DVD. An introduction for neophytes and a resource for fanatics, this book is a travel guide to the rambling landscape of these remarkable comedies.
Senior Anonymous is about the one year that Matt was a senior. It goes through the chronological series of adventures and misadventures that Matt and his friends managed to do for that year. It recalls so many of the classmates, teachers, coaches, and strangers who added to that year that is supposed to be such a vital springboard into life. The story leans heavily upon the drinking and smoking that became a partner in all the activity, whether it was school or after-school events. And clearly the events are intended, as they were then, to bring some laughter. There is an undertone, though, of the early days and signs of someone who is becoming an addict and alcoholic. There is an update summary of the lives and situations as they are today that sometimes reflects sarcasm, but a sense of happiness and spiritual contentedness as well.
A visual history of the artists, fans, and fanzines of widely influential British punk. Zerox Machine is an immersive journey through the vibrant history of British punk and its associated fanzines from 1976 to 1988. Drawing on an extensive range of previously unpublished materials sourced from private collections across the United Kingdom, Matthew Worley describes and analyzes this transformative era, providing an intimate glimpse into the hopes and anxieties that shaped a generation. Far more than a showcase of covers, Zerox Machine examines the fanzines themselves, offering a rich tapestry of firsthand accounts, personal stories, and subcultural reflections. With meticulous research and insightful analysis, this book captures the spirit and essence of British youth culture, shedding new light on a pivotal movement in music history and offering a unique alternative history of Britain in the 1970s and ’80s.
A study of urban nature that draws together different strands of urban ecology as well as insights derived from feminist, posthuman, and postcolonial thought. Postindustrial transitions and changing cultures of nature have produced an unprecedented degree of fascination with urban biodiversity. The “other nature” that flourishes in marginal urban spaces, at one remove from the controlled contours of metropolitan nature, is not the poor relation of rural flora and fauna. Indeed, these islands of biodiversity underline the porosity of the distinction between urban and rural. In Natura Urbana, Matthew Gandy explores urban nature as a multilayered material and symbolic entity, through the lens of urban ecology and the parallel study of diverse cultures of nature at a global scale. Gandy examines the articulation of alternative, and in some cases, counterhegemonic, sources of knowledge about urban nature produced by artists, writers, scientists, as well as curious citizens, including voices seldom heard in environmental discourse. The book is driven by Gandy’s fascination with spontaneous forms of urban nature ranging from postindustrial wastelands brimming with life to the return of such predators as wolves and leopards on the urban fringe. Gandy develops a critical synthesis between different strands of urban ecology and considers whether "urban political ecology," broadly defined, might be imaginatively extended to take fuller account of both the historiography of the ecological sciences,and recent insights derived from feminist, posthuman, and postcolonial thought.
Whole System Working" is an approach that enables people to find sustainable solutions to local problems. It is also a theoretical approach to organizational development that views groups of people who share a common purpose as a "living system". Based on King's Fund work over four years with health agencies and their local partners in housing, local government, the independent sector, transport, and local people, this book describes the founding principles which characterize the approach, gives examples of its application in practice, and answers common questions.
From cynical portrayals like The Front Page to the nuanced complexity of All the President’s Men, and The Insider, movies about journalists and journalism have been a go-to film genre since the medium's early days. Often depicted as disrespectful, hard-drinking, scandal-mongering misfits, journalists also receive Hollywood's frequent respect as an essential part of American life. Matthew C. Ehrlich tells the story of how Hollywood has treated American journalism. Ehrlich argues that films have relentlessly played off the image of the journalist as someone who sees through lies and hypocrisy, sticks up for the little guy, and serves democracy. He also delves into the genre's always-evolving myths and dualisms to analyze the tensions—hero and oppressor, objectivity and subjectivity, truth and falsehood—that allow journalism films to examine conflicts in society at large.
Provides an introductory explanation of postmodernism and its connection to film theory, and how it can be used to interpret Ridley Scott’s film, Blade Runner.
After the successful and innovative first two editions, now in a new, restructured 3rd edition, this remains the most authoritative introduction for studying comic books and graphic novels, covering their place in contemporary culture, the manifestations and techniques of the art form, the evolution of the medium and how to analyze and write about them. The new edition includes: - A completely reworked introduction explores the comics community in the US and globally, its history, and the role of different communities in advancing the medium and its study - Chapters reframed to get students thinking about themselves as consumers and makers of comics - Reorganized chapters on form help to unpack encapsulation, composition and layout - Completely new chapters on comics and how they can be used to report, document, and persuade, as well as a new Preface by Karen Green Illustrated throughout, with discussion questions and activities for every chapter and an extensive glossary of key terms, The Power of Comics and Graphic Novels also includes further updated resources available online including additional essays, weblinks and sample syllabi.
Churched" is the compelling narrative of life inside the walls of the local church building, examining what it means to "be" churched--relevant to those who are familiar with the evangelical culture.
A Best Book of the Year at The Atlantic Los Angeles Times Bestseller "[An] absorbing and revealing book. . . . nestling in the fruitful terrain between memoir and criticism." —Geoff Dyer, author of Out of Sheer Rage Blending memoir and cultural criticism, Matthew Specktor explores family legacy, the lives of artists, and a city that embodies both dreams and disillusionment. In 2006, Matthew Specktor moved into a crumbling Los Angeles apartment opposite the one in which F. Scott Fitzgerald spent the last moments of his life. Fitz had been Specktor’s first literary idol, someone whose own passage through Hollywood had, allegedly, broken him. Freshly divorced, professionally flailing, and reeling from his mother’s cancer diagnosis, Specktor was feeling unmoored. But rather than giving in or “cracking up,” he embarked on an obsessive journey to make sense of the mythologies of “success” and “failure” that haunt the artist’s life and the American imagination. Part memoir, part cultural history, part portrait of place, Always Crashing in the Same Car explores Hollywood through a certain kind of collapse. It’s a vibrant and intimate inspection of failure told through the lives of iconic, if under-sung, artists—Carole Eastman, Eleanor Perry, Warren Zevon, Tuesday Weld, and Hal Ashby, among others—and the author’s own family history. Through this constellation of Hollywood figures, he unearths a fascinating alternate history of the city that raised him and explores the ways in which curtailed ambition, insufficiency, and loss shape all our lives. At once deeply personal and broadly erudite, it is a story of an art form (the movies), a city (Los Angeles), and one person’s attempt to create meaning out of both. Above all, Specktor creates a moving search for optimism alongside the inevitability of failure and reveals the still-resonant power of art to help us navigate the beautiful ruins that await us all.
Subjective Realist Cinema looks at the fragmented narratives and multiple realities of a wide range of films that depict subjective experience and employ “subjective realist” narration, including recent examples such as Mulholland Drive, Memento, and Eternal Sunshine of the Spotless Mind. The author proposes that an understanding of the narrative structures of these films, particularly their use of mixed and multiple realities, enhances viewers’ enjoyment and comprehension of such films, and that such comprehension offers a key to understanding contemporary filmmaking.
A Portrait of the Artist as Australian offers the first critical assessment of Barry Humphries' entire career - as a daring postmodern deconstructionist on stage, film, and television, with sixty-seven stage shows, twenty-four film and thirty-four video appearances, thirty-four television series and seventy-one television appearances, and seventy-two audio recordings, but especially what he calls his "second career" as author of twenty-nine books. With an oeuvre that includes novels, biographies, autobiographies, editions, compilations, comic books, poetry, dramatic monologues, sketches, film scripts, and several unclassified works, Humphries is a literary and dramatic artist of considerable significance. Arguing that Humphries is one of Australia's greatest writers, Paul Matthew St Pierre reveals a multi-faceted artist whose success is rooted in music halls, Dadaism, and his identity as an Australian.
The human mind is the most powerful game engine – but it can always use some help. This book is meant for developers who want to create games that will evoke richer and more memorable “gameworlds” in the minds of their players. We don’t just enter such unforgettable gameworlds when we play first-person 3D RPGs with high-resolution graphics; even relatively simple 2D puzzle or strategy games with 8-bit-style visuals can immerse players in worlds that are beautiful, terrifying, mysterious, or moving, that are brutally realistic or delightfully whimsical. Indeed, good video games can transport us to incredible new worlds. The process by which a particular gameworld emerges is a symbiotic collaboration between developer and player: the game system presents a carefully architected stream of polygons and pixels, which somehow leads the player’s mind to construct and explore an intricate world full of places, people, relationships, dilemmas, and quests that transcends what’s actually appearing onscreen. Drawing on insights from ontology and philosophical aesthetics, this volume provides you with conceptual frameworks and concrete tools that will enhance your ability to design games whose iconic gameworlds encourage the types of gameplay experiences you want to offer your players. Among other topics, the book investigates: · The unusual ways in which a gameworld’s contents can “shrink” or “grow” in players’ minds, depending on whether the players are mentally positioned within a game’s social space, cultural space, built space, or tactical space. · The manner in which players’ minds spontaneously “concretize” the countless gaps that exist in a game – and how this dynamic explains why so many players still enjoy 8-bit-style games with retro pixel art. · The differing ways in which players experience success and failure, danger and safety, good and evil, the future and the past, the known and the unknown, and engagement and retreat, depending on whether a game reveals its gameworld through a “1D” game environment (like that of a text-based adventure), 2D environment (like that of a sidescroller or a grand strategy game with a top-down map view), 2.5D environment (like that of an isometric turn-based tactics game) or 3D environment (like that of a first-person shooter). · The powerful way in which players are able to mentally “explore” a gameworld simply by shifting their conscious awareness between different senses, media, ontological strata, and constituent spaces – without needing to travel through the gameworld’s terrain at all. · Necessary and optional elements of the gameworld – from built areas, natural landscapes, laws of nature, and a cosmogony to the game’s player and designer – and their roles in shaping the gameplay experience. · How to strategically employ the architectural paradigms of the Cyberspatial Grid, Maze Space, Biomimetic Net, Simulacral World, Virtual Museum, and Protean World when architecting locales within your game, in order to evoke particular kinds of emotional gameplay experiences for your players. · The nature of the unique “sixth sense” that 2D games grant to player characters (and players). · Simple techniques for helping your 2D game to “feel” more like a 3D game. · The differing kinds of immersiveness, interactivity, and determinacy possessed by different types of games and their implications for the gameplay experience. Once you’ve undertaken this philosophical and artistic journey, you’ll never look at your games – or their gameworlds – in quite the same way again. Phenomenology of the Gameworld is a book by the award-winning video game designer, philosopher, and writer Matthew E. Gladden. He has over 20 years of experience with commercial and non-commercial game development, has published numerous scholarly and popular works relating to the philosophy of video game design, virtual reality, and neurocybernetics, and has served as a video game conference keynote speaker.
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