Cinema's Doppelgängers is a counterfactual history of the cinema - or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it's a history of the movies written from an alternative unfolding of historical time - a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn't become filmmakers, and in which Hitchcock never came to Hollywood. The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism. Doug Dibbern's first book, Hollywood Riots: Violent Crowds and Progressive Politics in American Film, won the 2016 Peter Rollins Prize. He has published scholarly essays on classical Hollywood filmmakers, film criticism for The Notebook at Mubi.com, and literary essays for journals like Chicago Quarterly Review and Hotel Amerika. He has a Ph.D. in Cinema Studies from New York University, where he teaches now in the Expository Writing Program.

This volume is a timely and necessary intervention as it provides a rich, multifaceted approach to the study of cinema and visual representation. It presents a lucid and intelligent account of twentieth century film criticism essential for students in the fields of media studies and cultural studies. It leads the reader through the major contemporary philosophical and sociocultural theories of appreciating cinematic signs and themes. The book also gathers together informed discussions about the nature and principles of literary adaptation that will greatly benefit anyone interested in this field of study.

For millennia people have held folk beliefs about the existence of the doppelganger--"double walker" in German--a look-alike second self that is often the antithesis of one's identity and is usually considered an omen of misfortune or death. The theme of the double has inspired works by E.T.A. Hoffmann, Poe, de Maupassant, Dostoevsky and others, and has been the basis for many classic mystery, horror and science fiction movies. This critical survey examines the double in more than 100 films by such acclaimed directors as Alfred Hitchcock, Mario Bava, Roger Corman, David Cronenberg, George Romero, Fritz Lang, James Cameron, Robert Siodmak, Don Siegel, John Frankenheimer, Terry Gilliam, Brian De Palma and Roman Polanski.

The New Neapolitan Cinema provides close analysis of the whole of this movement, which stands as one of the most vital and stimulating currents in contemporary European Cinema.

The first book to focus on the representation of character in film, encompassing the art cinema, popular movies, and documentaries.

Ideographic Modernism offers a critical account of the ideograph (Chinese writing as imagined in the West) as a modernist invention. Through analyses of works by Claudel, Pound, Kafka, Benjamin, Segalen, and Valery, among others, Christopher Bush traces the interweaving of Western modernity's ethnographic and technological imaginaries, in which the cultural effects of technological media assumed "Chinese" forms, even as traditional representations of "the Orient" lived on in modernist-era responses to media. The book also makes a methodological argument, demonstrating new ways of recovering the generally overlooked presence of China in the text of Western modernism.

From vampires and demons to ghosts and zombies, interest in monsters in literature, film, and popular culture has never been stronger. This concise Encyclopedia provides scholars and students with a comprehensive and authoritative A-Z of monsters throughout the ages. It is the first major reference book on monsters for the scholarly market. Over 200 entries written by experts in the field are accompanied by an overview introduction by the editor. Generic entries such as 'ghost' and 'vampire' are cross-listed with important specific manifestations of that monster. In addition to monsters appearing in English-language literature and film, the Encyclopedia also includes significant monsters in Spanish, French, Italian, German, Russian, Indian, Chinese, Japanese, African and Middle Eastern traditions. Alphabetically organized, the entries each feature suggestions for further reading. The Ashgate Encyclopedia of Literary and Cinematic Monsters is an invaluable resource for all students and scholars and an essential addition to library reference shelves.