Animal Activism On and Off Screen examines the relationship between animal advocacy and the film and television industries. Leading scholars, activists, and film industry professionals critically analyse the ways in which animal activism has been represented inside and outside film and television programs in relation to the politics of celebrity, vegan, and animal activism. Case studies include UK, US, and German television crime fiction, feature-length advocacy documentaries such as Blackfish (2013), The Ghosts in Our Machine (2013), The Animal People (2019) and Meat the Future (2020); fiction films such as Okja (2017) and Cloud Atlas (2012); as well as celebrity chefs, French activism and celebrity activists Pamela Anderson, Joaquin Phoenix and James Cromwell. By exploring three key aspects of the current context for animal rights: representations of activism on screen; activist texts and their reception; and celebrity vegans and animal advocates, Animal Activism On and Off Screen evaluates the efficacy of advocacy narratives in film and on television, and offers important insights intended to inform animal advocacy strategies and campaigns.

This volume takes ending the oppression of other animals seriously and confronts the question ‘What would happen to all the animals?’ by showcasing real, promissory, and imagined counter-sites or heterotopia, where animals ‘happen’ in different ways, free of anthropocentric orders of value and purpose. Rejecting persistent understandings of the oppression of nonhuman animals, across the entire breadth of the Animal-Industrial Complex (A-IC), as either non-existent, unproblematic, and/or fundamentally unalterable – open to merely being reduced in scale or made less harmful – the collection offers readers a variety of pathways towards radically ‘disordered’ ways of thinking about and relating to other animals. Over 14 chapters, authors describe more liberatory relational reconfigurations playing out in the present and undertake conceptual, imaginative, and embodied explorations of liberatory futures. The chapters are united by a common commitment to heterotopic disturbance – to contesting and subverting the anthropo-capitalo-centric space in which we live. Each chapter approaches this subversion in its own way, using prefiguration, restorying, speculation, radical imagination, and combinations thereof, to disturb or shatter orders, explore the kinds of liberation and resistance their disturbance demonstrates, demands, or embodies, and ultimately illustrate exactly what would or could happen to all the animals. Heterotopia, Radical Imagination, and Shattering Orders will appeal to scholars, students, and individuals interested not only in challenging normalised binaries, hierarchies, and orders of value, both human and nonhuman, but in creating and realising liberatory alternatives. Scholar-activists, activists, professionals working in animal advocacy, and anyone undertaking activities aimed at radically changing how other animals are understood and used will also find inspiration, new insights, and information that enhance their current methods and approaches. Some readers may also find simply confirmation and comfort in the knowledge that so many others are working in solidarity with the ‘disordered’ belief that shattering the A-IC is possible.

A Critical Companion to Christopher Nolan provides a wide-ranging exploration of Christopher Nolan's films, practices, and collaborations. From a range of critical perspectives, this volume examines Nolan's body of work, explores its industrial and economic contexts, and interrogates the director's auteur status. This volume contributes to the scholarly debates on Nolan and includes original essays that examine all his films including his short films. It is structured into three sections that deal broadly with themes of narrative and time; collaborations and relationships; and ideology, politics, and genre. The authors of the sixteen chapters include established Nolan scholars as well as academics with expertise in approaches and perspectives germane to the study of Nolan's body of work. To these ends, the chapters employ intersectional, feminist, political, ideological, narrative, economic, aesthetic, genre, and auteur analysis in addition to perspectives from star theory, short film theory, performance studies, fan studies, adaptation studies, musicology, and media industry studies.

The way we produce and consume food is facing an unprecedented crisis. As the global population expands, strain is put on our food systems and resources. The agriculture industry is struggling to meet demands of the current population, and the impact of climate change, deforestation, and soil degradation are further threatening our ability to produce food sustainably. Cellular agriculture is an emerging field that has the potential to revolutionize the way we produce food. Cellular Agriculture for Revolutionized Food Production provides an in-depth understanding of cellular agriculture, its history, and its potential to transform the food industry. It explores the benefits of cellular agriculture, including its impact on the environment, animal welfare, and human health. Covering topics such as animal welfare, food production, and regulations, this book is a valuable resource for food industry professionals, environmentalists and sustainability advocates, nutritionists, healthcare professionals, policymakers and regulators, researchers, and academicians.

Commercial contractor Tom Loman seems to have it all—a great house, high-paying job, loving wife and kids—until one dark day when it all falls apart. What, or who brought on the total deconstruction of the successful six-years-sober Californian? A mysterious woman from his AA group may hold the answers. Will Tom live long enough to find out? Or will he die trying? An explosive new thriller from the mind of author Glenn A. Bruce.

The book offers an interdisciplinary overview of the film and place relationship from an intercultural perspective. It explores the complex domain of place and space in cinema and the film industry's role in establishing cultural connections and economic cooperation between India and Europe. With contributions from leading international scholars, various case studies scrutinise European and Indian contexts, exploring both the established and emerging locations. The book extends the dominantly Britain-oriented focus on India’s cinema presence in Europe to European countries such as Italy, Switzerland, Poland, Slovenia, Finland, and Sweden, where the Indian film industry progressively expands its presence. The chapters of this book look at Indian film production in Europe as a cultural bridge between India and Europe, fostering mutual understanding of the culture and society of the two regions. This interdisciplinary book will be of interest to researchers in film studies, cultural anthropology, cultural geography, tourism, economics, sociology, and cultural studies. It will also be interest to practitioners working in local authorities, destination management, tourism, and creative business, all of whom see the value of film production in attracting visitors, investment, and creating new networks with local economic actors. The book offers much-needed data and tools to translate their professional goals and potentials into effective regional strategies and activities.

Bits and Pieces: Screening Animal Life and Death gathers pivotal and more mundane moments, dispersed across a predominantly Western history of moving images, in which animals materialize in movies and TV shows, from iconic scenes of cattle slaughter in early Soviet montage to quandaries over hunting trophies in recent home-renovation reality TV series, to animals in Black horror films. Sarah O'Brien carefully views these fragments in dialogue with germinal texts at the intersection of animal studies, film and television studies, and cultural studies. She explores the capacity of moving images to unsettle the ways in which audiences have become habituated to viewing animal life and death on screens, and, more importantly, to understanding these images as more and less connected to the “production for consumption” of animals that is specific to modern industrialization. By looking back at films and TV series in which the places and practices of killing or keeping animals enter, occupy, or slip from the foreground, Bits and Pieces takes seriously the idea that cinema and television have the capacity not only to catch but to challenge and change viewers’ regard for animals.