XXX is an action film series that follows the adventures of Xander Cage, a rebellious and adventurous extreme sports athlete who is recruited by the National Security Agency to become an undercover agent. The first film was released in 2002, starring Vin Diesel as Xander Cage and directed by Rob Cohen. The film received mixed reviews from critics, but was a box office success. It was followed by a sequel, XXX: State of the Union, released in 2005 and starring Ice Cube as the protagonist. The film was not as well received by critics and did not perform as well at the box office as its predecessor. In 2017, a third installment of the series, titled XXX: Return of Xander Cage, was released, again starring Vin Diesel as Xander Cage. The film received mixed reviews from critics and was moderately successful at the box office. Despite the mixed reception of the series, XXX has developed a loyal fanbase and is known for its high-octane action sequences, over-the-top stunts, and larger-than-life characters.

Introduction to XXX: State of the Union is a comprehensive guide to the current state of the industry and its various sub-sectors. The guide provides an in-depth analysis of the industry's current challenges and opportunities, as well as its future prospects. It covers the major players in the industry, including key companies and industry associations, and highlights current trends and emerging technologies. The guide is divided into several sections, each dedicated to a specific sub-sector of the industry. These sections provide detailed information on the current market size, key players, and growth trends in each sub-sector. They also explore emerging technologies and innovative solutions that are changing the way the industry operates. The guide is an essential resource for anyone looking to gain a deeper understanding of the current state of the industry and the opportunities and challenges it presents.

Reframing the Past traces what historians have written about film and television from 1898 until the early 2000s. Mia Treacey argues that historical engagement with film and television should be reconceptualised as Screened History: an interdisciplinary, international field of research to incorporate and replace what has been known as ‘History and Film’. It draws from the fields of Film, Television and Cultural Studies to critically analyse key works and connect past scholarship with contemporary research. Reconsidered as Screened History, the works of Pierre Sorlin, Marc Ferro, John O’Connor, Robert Rosenstone and Robert Toplin are explored alongside lesser known but equally important contributions. This book identifies a number of common themes and ideas that have been explored by historians for decades: the use of history on film and television as a way to teach the past; the challenge of filmic and televisual history to more traditional historiography; and an ongoing battle to find an ‘appropriate’ historical way to engage with Film Studies and Theory. Screened History offers an approach to exploring History, Film and Television that allows room for future developments, while connecting them to a rich and diverse body of past scholarship. Combining a narrative of historical research on film and television over the past century with a reconceptualisation of the field as Screened History, Reframing the Past is essential reading both for established scholars of History and Film, Film History and other related disciplines, and to students new to the field.

This research-based monograph presents an introduction to the concept of film-induced tourism, building on the work of the seminal first edition. Many new case studies exploring the relationship between film and TV and tourism have been added and existing cases have been updated. The book incorporates studies on film studio theme parks, the impact of film-induced tourism on communities and the effect of film on tourists’ behaviour. It introduces new content including film-induced tourism in non-Western cultures, movie tours and contents tourism. The book is an essential resource for postgraduate students and researchers in the fields of tourism, film and media studies.

European Film Theory explores the ‘Europeanness’ of European film theory, its philosophical origins, the ‘culture wars’ between ‘Continental’ and ‘Analytical’ film theory and philosophy, the major discursive and epistemological shifts in the history of Continental film theory, the relationship between Continental philosophy of art and philosophy of history and European film theory. Writing from a range of disciplines and perspectives, the contributors to this new volume in the AFI FILM READERS series offer fresh interpretations of European film theorists and illuminate the political potential of European film theory.

Landscape is everywhere in film, but it has been largely overlooked in theory and criticism. This volume of new work will address fundamental questions: What kind of landscape is cinematic landscape? How is cinematic landscape different from landscape painting? How is landscape deployed in the work of such filmmakers as Greenaway, Rossellini, or Antonioni, to name just three? What are differences between the use of landscape in Western filmmaking and in the work of Middle Eastern and Asian filmmakers? How is cinematic landscape related to the idea of a national cinema and questions of identity. The first collection on the idea of landscape and film, this volume will present an impressive international cast of contributors, among them Jacques Aumont, Tom Conley, David B. Clarke, Marcus A. Doel, Peter Rist, and Antonio Costa.