Addressing the appeal of the journey narrative from pre-cinema to new media and through documentary, fiction and the spaces between, this collection reveals the journey to be a persistent presence across cinema and in cultural modernity.

Japan’s film industry has gone through dramatic changes in recent decades, as international consumer forces and transnational talent have brought unprecedented engagement with global trends. With careful research and also unique first-person observations drawn from years of working within the international industry of Japanese film, the author aims to examine how different generations of Japanese filmmakers engaged and interacted with the structural opportunities and limitations posed by external forces, and how their subjectivity has been shaped by their transnational experiences and has changed as a result. Having been through the globalization of the last part of the twentieth century, are Japanese themselves and overseas consumers of Japanese culture really becoming more cosmopolitan? If so, what does it mean for Japan’s national culture and the traditional sense of national belonging among Japanese people?

15 Stories. 15 Australian authors. One theme: Journeys. What games do the dead play? Can the ambassador negotiate peace with a hostile alien race? Why is Rae so terrified of a letter from the 'Next Chapter' Department of Lebensqualitat? Read about living mannequins, prison ships, pandemics and more in the second anthology from Aussie Speculative Fiction.

Since Birth of a Nation became the first Hollywood blockbuster in 1915, movies have struggled to reckon with the American South—as both a place and an idea, a reality and a romance, a lived experience and a bitter legacy. Nearly every major American filmmaker, actor, and screenwriter has worked on a film about the South, from Gone with the Wind to 12 Years a Slave, from Deliveranceto Forrest Gump. In The South Never Plays Itself, author and film critic Ben Beard explores the history of the Deep South on screen, beginning with silent cinema and ending in the streaming era, from President Wilson to President Trump, from musical to comedy to horror to crime to melodrama. Beard’s idiosyncratic narrative—part cultural history, part film criticism, part memoir—journeys through genres and eras, issues and regions, smash blockbusters and microbudget indies to explore America’s past and troubled present, seen through Hollywood’s distorting lens. Opinionated, obsessive, sweeping, often combative, sometimes funny—a wild narrative tumble into culture both high and low—Beard attempts to answer the haunting question: what do movies know about the South that we don’t?

Since ancient times, explorers and adventurers have captured popular imagination with their frightening narratives of travels gone wrong. Usually, these stories heavily feature the exotic or unknown, and can transform any journey into a nightmare. Stories of such horrific happenings have a long and rich history that stretches from folktales to contemporary media narratives.This work presents eighteen essays that explore the ways in which these texts reflect and shape our fear and fascination surrounding travel, posing new questions about the "geographies of evil" and how our notions of "terrible places" and their inhabitants change over time. The volume's five thematic sections offer new insights into how power, privilege, uncanny landscapes, misbegotten quests, hellish commutes and deadly vacations can turn our travels into terror.

Atlas of Emotion is a highly original endeavour to map a cultural history of spatio-visual arts. In an evocative montage of words and pictures, emphasises that "sight" and "site" but also "motion" and "emotion" are irrevocably connected. In so doing, Giuliana Bruno touches on the art of Gerhard Richter and Annette Message, the film making of Peter Greenaway and Michelangelo Antonioni, the origins of the movie palace and its precursors, and her own journeys to her native Naples. Visually luscious and daring in conception, Bruno opens new vistas and understandings at every turn.

This interdisciplinary collection provides a set of innovative and inventive approaches to the use of video as a research method. Building on the development of visual methods across the social sciences, it highlights a range of possibilities for making and working with video data. The collection showcases different video methods, including video diaries, video go-alongs, time-lapse video, mobile devices, multi-angle video recording, video ethnography, and ethnographic documentary. Each method is presented through a case study, showing how it can be used in practice. The authors offer pragmatic advice and discuss practical issues, including equipment, techniques and skills, analysis, and presentation. They also show how video methods can be used in a range of different contexts – at train stations, on bicycles, in schools, outdoors, and in museums – to investigate worlds that are visible, audible, tangible, and in motion. In doing so, they illuminate the theoretical possibilities that video methods offer for researching the body, identity, everyday life, affect, time, and space.