Francesco Casetti believes new media technologies are producing an exciting new era in cinema aesthetics. Whether we experience film in the theater, on our hand-held devices, in galleries and museums, onboard and in flight, or up in the clouds in the bits we download, cinema continues to alter our habits and excite our imaginations. Casetti travels from the remote corners of film history and theory to the most surprising sites on the internet and in our cities to prove the ongoing relevance of cinema. He does away with traditional notions of canon, repetition, apparatus, and spectatorship in favor of new keywords, including expansion, relocation, assemblage, and performance. The result is an innovative understanding of cinema's place in our lives and culture, along with a critical sea-change in the study of the art. The more the nature of cinema transforms, the more it discovers its own identity, and Casetti helps readers realize the galaxy of possibilities embedded in the medium.

With an innovative and strongly interdisciplinary theoretical framework, this book offers an extensive investigation of the use of audio-visuals in exhibition design.

Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order to study the new way of making filmic images in new conditions more or less remote from the dispositif of the theater and in closer relationship with contemporary art. The issue will be considered at three levels: the impression of post-art on "regular" films; the "relocation" (Cassetti) of the same films that can be seen using devices of all kinds, in conditions more or less remote from the dispositif of the theater; parallel to the integration of contemporary art in "regular" cinema, the integration of cinema into contemporary art in all kinds of forms of creation and exhibition.

Today, in a world of smartphones, tablets, and computers, screens are a pervasive part of daily life. Yet a multiplicity of screens has been integral to the media landscape since cinema’s golden age. In On the Screen, Ariel Rogers rethinks the history of moving images by exploring how experiments with screen technologies in and around the 1930s changed the way films were produced, exhibited, and experienced. Marshalling extensive archival research, Rogers reveals the role screens played at the height of the era of “classical” Hollywood cinema. She shows how filmmakers, technicians, architects, and exhibitors employed a variety of screens within diverse spaces, including studio soundstages, theaters, homes, stores, and train stations. Far from inert, screens served as means of structuring mediated space and time, contributing to the transformations of modern culture. On the Screen demonstrates how particular approaches to the use of screens traversed production and exhibition, theatrical and extratheatrical practice, mainstream and avant-garde modes, and even cinema and television. Rogers’s history challenges conventional narratives about the novelty of the twenty-first-century multiscreen environment, showing how attention to the variety of historical screen practices opens up new ways to understand contemporary media.

They are heroes and villains, Sith and Jedi, senators and scoundrels, mothers, mercenaries, artists, pilots. . . . The women of the Star Wars galaxy drive its stories and saga forward at every level. This beautifully illustrated, fully authorized book profiles 75 fascinating female characters from across films, fiction, comics, animation, and games. Featuring Leia Organa, Rey, Ahsoka Tano, Iden Versio, Jyn Erso, Rose Tico, Maz Kanata, and many more, each character is explored through key story beats, fresh insights, and behind-the-scenes details by author Amy Ratcliffe. Also showcasing more than 100 all-new illustrations by a dynamic range of female and non-binary artists, here is an inspiring celebration of the characters that help create a galaxy far, far away. • INCLUDING CHARACTERS FROM SOLO: A STAR WARS STORY AND STAR WARS: RESISTANCE •INCLUDES CHARACTERS VISUALIZED HERE FOR THE FIRST TIME Amy Ratcliffe is the managing editor of Nerdist and a contributor to StarWars.com, and has written for outlets such as Star Wars Insider and IGN. She's a host at Star Wars Celebration and cohosts the Lattes with Leia podcast. When she's not visiting a galaxy far, far away, she lives in Los Angeles, California. Contributing artists: • Alice X. Zhang • Amy Beth Christenson • Annie Stoll • Annie Wu • Christina Chung • Cryssy Cheung • Eli Baumgartner • Elsa Charretier • Geneva Bowers • Jennifer Aberin Johnson • Jen Bartel • Jenny Parks • Karen Hallion • Little Corvus • Sara Alfageeh • Sara Kipin • Sarah Wilkinson • Viv Tanner © & TM LUCASFILM LTD. Used Under Authorization.

The Financial Image: Finance, Philosophy, and Contemporary Film draws on a broad range of narrative feature films, documentaries, and moving image installations in the US, Europe, and Asia. Using frameworks from contemporary philosophy and critical finance studies, the book explores how contemporary cinema has registered recent financial and economic issues. The book focuses on how filmmakers have found formal means to explore, celebrate, and critique the increasingly important role that the financial sector plays in shaping global economic, political, ethical, and social life.

Istanbul's Ã++emberlitaÅY Hamamı provides a case study for the cultural, social and economic functions of Turkish bathhouses over time.