Science Fiction Film develops a historical and cultural approach to the genre that moves beyond close readings of iconography and formal conventions. It explores how this increasingly influential genre has been constructed from disparate elements into a hybrid genre. Science Fiction Film goes beyond a textual exploration of these films to place them within a larger network of influences that includes studio politics and promotional discourses. The book also challenges the perceived limits of the genre - it includes a wide range of films, from canonical SF, such as Le voyage dans la lune, Star Wars and Blade Runner, to films that stretch and reshape the definition of the genre. This expansion of generic focus offers an innovative approach for students and fans of science fiction alike.

Evaluates the term 'classic', discussing a wide range of films and texts including Jane Eyre, The Tempest and Alice in Wonderland.

In this study, David Bordwell offers a comprehensive account of how movies use fundamental principles of narrative representation, unique features of the film medium, and diverse story-telling patterns to construct their fictional narratives.

Throughout Disney's phenomenally successful run in the entertainment industry, the company has negotiated the use of cutting-edge film and media technologies that, J. P. Telotte argues, have proven fundamental to the company's identity. Disney's technological developments include the use of stereophonic surround sound for Fantasia, experimentation with wide-screen technology, inaugural adoption of three-strip Technicolor film, and early efforts at fostering depth in the animated image. Telotte also chronicles Disney's partnership with television, development of the theme park, and depiction of technology in science-fiction narratives. An in-depth discussion of Disney's shift into digital filmmaking with its Pixar partnership and an emphasis on digital special effects in live-action films, such as the Pirates of the Caribbean series, also highlight the studio's historical investment in technology. By exploring the technological context for Disney creations throughout its history, The Mouse Machine illuminates Disney's extraordinary growth into one of the largest and most influential media and entertainment companies in the world. Hardbook is unjacketed.

A NEW YORK TIMES NOTABLE BOOK of 2018 * Amazon Book of the Month ✳︎ Indies Introduce 2018 ✳︎ INDIES NEXT 2018 Selection "In Every Moment We Are Still Alive is a tremendous feat of emotional and artistic discipline. ... a triumph."— New York Times Book Review Acclaimed on the front page of the New York Times Book Review, a stunning tour de force telling a powerful tale of love, loss, and redemption In Every Moment We Are Still Alive tells the story of a man whose world has come crashing down overnight: His long-time partner has developed a fatal illness, just as she is about to give birth to their first child ... even as his father is diagnosed with cancer. Reeling in grief, Tom finds himself wrestling with endless paperwork and indecipherable diagnoses, familial misunderstandings and utter exhaustion while trying simply to comfort his loved ones as they begin to recede from him. But slowly, amidst the pain and fury, arises a story of resilience and hope, particularly when Tom finds himself having to take responsibility for the greatest gift of them all, his newborn daughter. Written in an unforgettable style that dives deep into the chaos of grief and pain, yet also achieves a poetry that is inspiring, In Every Moment We Are Still Alive is slated to become one of the most stirring novels of the year.

Hsiu-Chang Deppman puts landmark contemporary Chinese films in the context of their literary origins & explores how the best Chinese directors adapt fictional narratives & styles for film.

Monsters are a part of every society, and ours is no exception. They are deeply embedded in our history, our mythos, and our culture. However, treating them as simply a facet of children’s stories or escapist entertainment belittles their importance. When examined closely, we see that monsters have always represented the things we fear: that which is different, which we can’t understand, which is dangerous, which is Other. But in many ways, monsters also represent our growing awareness of ourselves and our changing place in a continually shrinking world. Contemporary portrayals of the monstrous often have less to do with what we fear in others than with what we fear about ourselves, what we fear we might be capable of. The nineteen essays in this volume explore the place and function of the monstrous in a variety of media – stories and novels like Baum’s Oz books or Gibson’s Neuromancer; television series and feature films like The Walking Dead or Edward Scissorhands; and myths and legends like Beowulf and The Loch Ness Monster – in order to provide a closer understanding of not just who we are and who we have been, but also who we believe we can be – for better or worse.