(Paperback)

An exploration of Cronenberg's films, placing them in context by examining his relationship to his audience and the wider film industry within which he works.

(Hardback)

Canadian film director David Cronenberg has long been a figure of artistic acclaim and public controversy. This title explores Cronenberg's films, placing them in context by examining his relationship to his audience and the wider film industry within which he works.

(Paperback)

This book on Syrian television drama manifests how gender roles are negotiated in the context of dominant Islamic and secular nationalist discourses, which at times overlap and challenge simple binaries of traditional versus secular approaches in new configurations of national identity.

(Hardback)

(Paperback)

(Paperback)

(Paperback)

Campaign films are usually overlooked by campaign scholars, yet they provide the fullest available visual portrait of a candidate during a campaign, they encapsulate persuasive appeals and strategies, and they illustrate Republican and Democratic candidates' different approaches to mediated communication.

(Hardback)

Campaign films are usually overlooked by campaign scholars, yet they provide the fullest available visual portrait of a candidate during a campaign, they encapsulate persuasive appeals and strategies, and they illustrate Republican and Democratic candidates' different approaches to mediated communication.

(Paperback, NIPPOD)

"This book focuses on the representation of time in cinema, by focusing on four filmmakers: Stanley Kubrick, Quentin Tarantino, Adrian Lyne, and Michael Bay"--

(Hardback)

"This book focuses on the representation of time in cinema, by focusing on four filmmakers: Stanley Kubrick, Quentin Tarantino, Adrian Lyne, and Michael Bay"--

(Paperback)

Besides documenting the predominant presence of privileged patrons in the audience, the author discusses the shape of the privileged life, the place of the privileged in the social structure, the forces that drew so many of them to London, and the factors that made them such avid theatergoers. Originally published in 1981. The Princeton Legacy Li

(Hardback)

(Paperback)

Focuses on the lives and works of the producers, this book is about people whose job is to dominate every facet of the film-making process, from conception, to script, and after. Through the interviews of Michael Douglas, it explains the history of some of the successful films and looks at the skill and experience to survive in this business.

(Paperback)

The General Post Office (GPO) Film Unit sat at the creative epicentre of Britain in the 1930s. Here, the insights of an archivist, a musicologist, a design historian, a sports historian, a geographer and a postman among others have been edited into a rich critical archaeology of a compelling moment in cinematic history.

(Paperback)

(Hardback)

Forty working actors comment auditions, day jobs, agent, rejection, and what drives them to keep going when there is no work.

(Paperback)

Forty working actors comment auditions, day jobs, agent, rejection, and what drives them to keep going when there is no work.

(Paperback)

Derek Jarman has been called the 'godfather' of the early 1990s cinematic movement now known as 'Queer Cinema'. This book views Jarman's uniquely personal - and pleasurable - cinema through the analytical prism of 'queer'.

(Hardback)

This book offers a re-thinking of how theatre-making might be understood as a "skilled" craft and process, exploring how professional contexts allow skill as a competence to emerge in a multitude of ways, rather than be acquired.

(Paperback)

With the resurgence (though some say it has never left) of radio, due in part to new media practices and technological innovations, not only are there more theory-related radio courses, but also those teaching the production and practice aspects. This book combines both theory and practice to lead to an understanding of radio drama form.

(Paperback)

In formulating a notion of filmic reality, The Reality of Film offers a novel way of understanding our relationship to cinema. It argues that cinema need not be understood in terms of its capacities to refer to, reproduce or represent reality, but should be understood in terms of the kinds of realities it has the ability to create. -- .

(Paperback)

(Hardback)

(Hardback)