From the team who brought you The Empire Film Guide, here are all the obscure, indecent and downright bizarre movie facts and figures that were not considered sensible for a practical film guide. Discover which country translated GI Jane as Satan Female Soldier, which Hollywood heartthrob is the lead singer of 30 Odd Foot of Grunts, and which country takes a bag of toasted leaf cutter ants to the cinema instead of popcorn! The Schott's Miscellany of movies, packed full of movie facts, figures and lists, as well as explanations of filmmaking terminology and a "shot miscellany" - a list of all the various camera shots. You will soon know your Oscar Hosts from your Monty Python French insults, and never be short of small talk again!

Introducing the all-new, indispensable collection of necessary trivia, uncommon knowledge, and vital irrelevance from Schott--the inventor of the Miscellany genre.

Analyzes the concepts and contents of 280 films and how each new film was built on what had been done before.

Virgil's Georgics depicts the world and its peoples in great detail, but this geographical interest has received little detailed scholarly attention. Hundreds of years later, readers in the British empire used the poem to reflect upon their travels in acts of imagination no less political than Virgil's own. Virgil's Map combines a comprehensive survey of the literary, economic, and political geography of the Georgics with a case study of its British imperial reception c. 1840–1930. Part One charts the poem's geographical interests in relation to Roman power in and beyond the Mediterranean; shifting readers' attention away from Rome, it explores how the Georgics can draw attention to alternative, non-Roman histories. Part Two examines how British travellers quoted directly from the poem to describe peoples and places across the world, at times equating the colonial subjects of European empires to the 'happy farmers' of Virgil's poem, perceived to be unaware, and in need, of the blessings of colonial rule. Drawing attention to the depoliticization of the poem in scholarly discourse, and using newly discovered archival material, this interdisciplinary work seeks to re-politicize both the poem and its history in service of a decolonizing pedagogy. Its unique dual focus allows for an extended exploration, not just of geography and empire, but of Europe's long relationship with the wider world.