Keywords offers a conversational journey through the overlying terrains of politically engaged art and artistically engaged politics, combining a major statement on subversive aesthetics, a survey of radical film strategies, and a lexicon of over a thousand terms and concepts. No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative Creates and illustrates over a thousand terms and concept, drawing its examples from a wide range of media Provides a broad timespan, covering the very ancient (Ramayana, Aristotle) to the most current (digital mashups, memes) Uniquely discusses the areas of film, television and the internet within one book No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative

Keywords offers a conversational journey through the overlying terrains of politically engaged art and artistically engaged politics, combining a major statement on subversive aesthetics, a survey of radical film strategies, and a lexicon of over a thousand terms and concepts. No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative Creates and illustrates over a thousand terms and concept, drawing its examples from a wide range of media Provides a broad timespan, covering the very ancient (Ramayana, Aristotle) to the most current (digital mashups, memes) Uniquely discusses the areas of film, television and the internet within one book No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative

The Moving Form of Film: Historicizing the Medium through Other Media charts the ways in which crossing borders between film and other arts and media can provide an encompassing, inclusive, and non-teleological understanding of film history. Evolutionary narratives of cinema have traditionally adopted the Second World War as a watershed that separates 'classical' Hollywood films from 'modern' European productions, a scheme that subjects the entire world to the cinematic history of two hegemonic centres. In turn, histories of film as a technological medium have focused on the specificity of cinema as it gradually separated from the other art and medial forms - theatre, dance, fairground spectacle, painting, literature, still photography and other pre-cinematic modes. Taking an ambitious step forward with relation to these approaches, this book focuses on the fluid quality of the film form by exploring an array of exciting and often neglected artistic expressions worldwide as they compare and interconnect films across temporal, geographical, and cultural borders. By observing the ebb and flow of film's contours within the bounds of other artistic and medial expressions, the chapters aspire to establish a flexible historical platform for the moving form of film, posited, from production to consumption, as a transforming and transformative medium.

Against the long historical backdrop of 1492, Columbus, and the Conquest, Robert Stam's wide-ranging study traces a trajectory from the representation of indigenous peoples by others to self-representation by indigenous peoples, often as a form of resistance and rebellion to colonialist or neoliberal capitalism, across an eclectic range of forms of media, arts, and social philosophy. Spanning national and transnational media in countries including the US, Brazil, Canada, France, Germany, and Italy, Stam orchestrates a dialogue between the western mediated gaze on the 'Indian' and the indigenous gaze itself, especially as incarnated in the burgeoning movement of “indigenous media,” that is, the use of audio-visual-digital media for the social and cultural purposes of indigenous peoples themselves. Drawing on examples from cinema, literature, music, video, painting and stand-up comedy, Stam shows how indigenous artists, intellectuals and activists are responding to the multiple crises - climatological, economic, political, racial, and cultural - confronting the world. Significant attention is paid to the role of arts-based activism in supporting the struggle of indigenous artistic activism, of the Yanomami people specifically, to save the Amazon forest and the planet.

This collection is a study of the value of craft as it can be understood within the study and practice of animation. The book reconsiders the position of craft, which is often understood as inferior to ‘art’, with a particular focus on questions of labour in animation production and gendered practices. The notion of craft has been widely investigated in a number of areas including art, design and textiles, but despite the fact that a wide range of animators use craft-based techniques, the value of craft has not been interrogated in this context until now. Seeking to address such a gap in the literature, this collection considers the concept of craft through a range of varying case studies. Chapters include studies on experimental animation, computer animation, trauma and memory, children’s animation and silhouette animation among others. The Crafty Animator also goes some way to exploring the relationship craft has with the digital in the context of animation production. Through these varied discussions, this book problematizes simplistic notions about the value of certain methods and techniques, working to create a dialogue between craft and animation.

Over 25 years ago, Raymond Williams’ Keywords: A Vocabulary of Culture and Society set the standard for how we understand and use the language of culture and society. Now, three luminaries in the field of cultural studies have assembled a volume that builds on and updates Williams’ classic, reflecting the transformation in culture and society since its publication. New Keywords: A Revised Vocabulary of Culture and Society is a state-of-the-art reference for students, teachers and culture vultures everywhere. Assembles a stellar team of internationally renowned and interdisciplinary social thinkers and theorists Showcases 142 signed entries – from art, commodity, and fundamentalism to youth, utopia, the virtual, and the West – that capture the practices, institutions, and debates of contemporary society Builds on and updates Raymond Williams’s classic Keywords: A Vocabulary of Culture and Society, by reflecting the transformation in culture and society over the last 25 years Includes a bibliographic resource to guide research and cross-referencing The book is supported by a website: www.blackwellpublishing.com/newkeywords.

This new collection of writings on Alfred Hitchcock considers Hitchcock both in his time and as a continuing influence on filmmakers, films and film theory. The contributions, who include leading scholars such as Slavoj Zizek, Laura Mulvey, Peter Wollen, and James Naremore, discuss canonical films such as Notorious and The Birds alongside lesser-known works including Juno and the Paycock and Frenzy. Articles are grouped into four thematic sections: 'Authorship and Aesthetics' examines Hitchcock as auteur and investigates central topics in Hitchcockian aesthetics. 'French Hitchcock' looks at Hitchcock's influence on filmmakers such as Chabrol, Truffaut and Rohmer, and how film critics such as Bazin and Deleuze have engaged with Hitchcock's work. 'Poetics and Politics of Identity' explores the representation of personal and political in Hitchcock's work. The final section, 'Death and Transfiguration' addresses the manner in which the spectacle and figuration of death haunts the narrative universe of Hitchcock's films, in particular his subversive masterpiece Psycho.