Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures - Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through a range of new sources, including advertisements, specialty magazines, postcards, technical guides and souvenir programs, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema's shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

An entertaining and insightful guide to the world of design.

Karl Albrecht defines social intelligence (SI) as the ability to get along well with others while winning their cooperation. SI is a combination of sensitivity to the needs and interests of others, sometimes called your “social radar,” an attitude of generosity and consideration, and a set of practical skills for interacting successfully with people in any setting. Social Intelligence provides a highly accessible and comprehensive model for describing, assessing, and developing social intelligence at a personal level. This book is filled with intriguing concepts, enlightening examples, stories, cases, situational strategies, and a self-assessment tool – all designed to help you learn to navigate social situations more successfully.

This book reviews operations research theory, applications and practice in airline planning and operations. It examines the business and technical landscape, details best practices, and identifies open questions and areas for future research.

Dialogue between film and theatre studies is frequently hampered by the lack of a shared vocabulary. Stage-Play and Screen-Play sets out to remedy this, mapping out an intermedial space in which both film and theatre might be examined. Each chapter’s evaluation of the processes and products of stage-to-screen and screen-to-stage transfer is grounded in relevant, applied contexts. Michael Ingham draws upon the growing field of adaptation studies to present case studies ranging from Martin McDonagh’s The Cripple of Inishmaan and RSC Live’s simulcast of Richard II to F.W. Murnau’s silent Tartüff, Peter Bogdanovich’s film adaptation of Michael Frayn’s Noises Off, and Akiro Kurosawa’s Ran, highlighting the multiple interfaces between media. Offering a fresh insight into the ways in which film and theatre communicate dramatic performances, this volume is a must-read for students and scholars of stage and screen.