Thirty years ago one of the most popular British films of all time was released. The Italian Job is remembered by everyone who has seen it, if not for Michael Caine's unforgettable line "You're only supposed to blow the bloody doors off!" - which led to the trademark impression of him - then for the literal cliff-hanger of an ending. Consistently in the top 100 films of all time and voted fourth best British film of all time, The Italian Job story is covered here from start to finish: how it was made, by the people who made it.

When our intrepid carping duo look to find a suitable present for Sylvester's sixteenth, the unlikely source for the answer to the most difficult aspect of the birthday boy's special treat is none other than Pup. The ex-boiliemeister insists on reuniting with his companions shortly after they arrive in Italy, the country where he now lives and works, and all goes swimmingly until an unfortunate event leaves our four friends with little option other than to attempt to resolve it. As Pup's dodgy business arrangements are laid bare, Matt, Rambo and Sylvester finally realise who they're dealing with - and it's their most dangerous adversary yet

Although Frank Bell thinks up lots of stories, The Adventures of James Bone Secret Agent was always his wife’s favourite, and she has often encouraged him to get around to finding the time to write down the first adventure. This book is about the adventures of James and his cat and dog friends, working as secret agents to protect our county. Frank chose Elena D’Cruze-Reynolds as the illustrator for The Adventures of James Bone as he really likes her detailed and quirky style. Frank Bell, author of The Adventures of James Bone, Secret Agent, is a businessman. Whenever he is not at work, he loves to involve himself in creative or sporty things, whether it’s writing, painting, gardening, cycling or playing tennis. When he’s not busy doing this, he loves to spend time with his family and have fun with a few very close friends. He has been writing for a long time. He has created several children’s books including two series of books called Panda Patrol and Louis The Lifeboat. Elena D’Cruze-Reynolds, the illustrator of the book, lives in Carmarthenshire with her husband and two daughters. When she isn’t cooking spaghetti, washing dishes, hanging out the laundry, being a taxi driver, nurse, referee or learning Welsh; she can be found in her creative space Y Stiwdio Mama, wearing an old bobble hat that keeps her cosy and like magic helps her find inspiration. There, alongside her three very attentive artist’s assistants, also known as the goldfish (Tân Gwyllt, Morgan and Lyne), she submerges herself into the land of doodles. Elena has illustrated and character-designed for Gomer Press, Baby Buzz Magazine, Mindful Ted and Jelly Cat. James Bone and The Italian Job is her debut children’s book and she’s very thrilled to have been part of his exciting adventure. What a daring dog he is! If you want to see more of her art for the young and young at heart, pop over to her Facebook page: Live, Love & Doodle, she always loves welcoming new friends.

This is the first book to provide a comprehensive and systematic account of the phenomenon of cinematic remaking. Drawing upon recent theories of genre and intertextuality, Film Remakes describes remaking as both an elastic concept and a complex situation, one enabled and limited by the interrelated roles and practices of industry, critics, and audiences. This approach to remaking is developed across three broad sections: the first deals with issues of production, including commerce and authors; the second considers genre, plots, and structures; and the third investigates issues of reception, including audiences and institutions.

This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers a complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock.

Modern Hollywood is dominated by a handful of studios: Columbia, Disney, Fox, Paramount, Universal, and Warner Bros. Threatened by independents in the 1970s, they returned to power in the 1980s, ruled unquestioned in the 1990s, and in the new millennium are again beseiged. But in the heyday of this new classical era, the major studios movies — their stories and styles — were astonishingly precise biographies of the studios that made them. Movies became product placements for their studios, advertising them to the industry, to their employees, and to the public at large. If we want to know how studios work—how studios think—we need to watch their films closely. How closely? Maniacally so. In a wide range of examples, The Studios after the Studios explores the gaps between story and backstory in order to excavate the hidden history of Hollywood's second great studio era.

This book investigates the success story of the fast fashion industry—mainly owned by Chinese migrants—in Prato, Italy. It outlines how Prato has become the center of a value chain stretching from suppliers in China and Turkey all the way to buyers in Europe. Despite this, a policy attacking Chinese entrepreneurship has been devised and implemented in Prato. This volume analyzes said policy against the crisis of Prato’s textile industry. Based on the author’s 15 years of fieldwork in Prato, the book sheds light on the entangled processes of city making and the restructuring processes linked to capital accumulation by tackling issues of governance, territory, migration, division of labor, labor mobility, housing, and human rights.