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Dead in Dubai (Lee Carruthers #2)
Lead had already begun to fly before former CIA analyst Lee Carruthers could get to Dubai to investigate the death of George Branson, and each question she asked ratcheted the danger up by a notch. She knew George. He was a CIA officer, but she discovered that he had other identities as well . In Dubai he was Gil Brady, and he worked for the Russian merchant of death Sergei Malyakov. In Istanbul he was Karl Spiegel, and he worked for Belarusian arms dealer Felix Gringikov. He might have been collateral damage in the war between Malyakov and Gringikov for control of the post-Soviet arms trade, but Lee had to determine if Branson still worked for the CIA when he was killed or if he'd sold out and if so, to whom. She had to answer that question quickly, before she was sent on a one-way trip to Karachi.
The Spider Catchers (Lee Carruthers #1)
Sex, money, and terrorism: What do the violent takeover of Fez brothels and a new stream of terrorist funding have to do with the disappearance of Alicia Harmon from the Fez office of Femme Aid Maroc? When CIA analyst Lee Carruthers tries to find out, she is swept into a tangled web of dirty money and human trafficking, and people will kill to find out what Alicia knew. If only Lee knew. She's working blind, and in this case, ignorance is death. Her search takes her through the slums of the medina to the high-rises of the new city and finally to a terrorist camp in the Algerian desert.
Doing Time
Doing Time addresses two areas of interest in recent film study—film temporality and film philosophy—to propose an innovative theorization of cinematic time that sees it as a dynamic process of engagement, or something we do as viewers. This active relation to cinematic time, which discloses a film's temporal character, is called its "timeliness." Here it is traced across a range of fascinating case studies from Hollywood and the global art cinema, uncovering each film's characteristic way of "doing time." Throughout, the ambiguities of filmic time are held as powerful attractions as they modulate film viewing: such pauses, gaps, repetitions, and stretches of time illuminate a living fie...
Canadian Cinema in the New Millennium
At the turn of the millennium Canadian cinema appeared to have reached an apex of aesthetic and commercial transformation. Domestic filmmaking has since declined in visibility: the sense of celebrity once associated with independent directors has diminished, projects garner less critical attention, and concepts that made late-twentieth-century Canadian film legible have been reconsidered or displaced. Canadian Cinema in the New Millennium examines this dramatic transformation and revitalizes our engagement with Canadian cinema in the contemporary moment, presenting focused case studies of films and filmmakers and contextual studies of Canadian film policy, labour, and film festivals. Contrib...
Hitchcock's Moral Gaze
In his essays and interviews, Alfred Hitchcock was guarded about substantive matters of morality, preferring instead to focus on discussions of technique. That has not, however, discouraged scholars and critics from trying to work out what his films imply about such moral matters as honesty, fidelity, jealousy, courage, love, and loyalty. Through discussions and analyses of such films as Strangers on a Train, Rear Window, Vertigo, North by Northwest, and Frenzy, the contributors to this book strive to throw light on the way Hitchcock depicts a moral—if not amoral or immoral—world. Drawing on perspectives from film studies, philosophy, literature, and other disciplines, they offer new and compelling interpretations of the filmmaker's moral gaze and the inflection point it provides for modern cinema.
Passionate Detachments
Investigates the cultural value of film violence. Passionate Detachments investigates the rise of graphic violence in American films of the late 1960s and early 1970s and the popular aesthetics and critical responses this violence inspired. Amy Rust examines four technologies adopted by commercial American cinema after the fall of the Hollywood Production Code: multiple-camera montage, squibs (small explosive devices) and artificial blood, freeze-frames, and zooms. Approaching these technologies as figures, as opposed to mere tools, Rust traces the encounters they mediate between perception (what one sees, hears, and feels) and representation (how those sights, sounds, and feelings make mean...
Ripping England!
Examines an all too often neglected period of postwar British cinema and popular culture. Ripping England! investigates a fertile moment for British satirethe period between 1947 and 1953, which produced the films Passport to Pimlico, Kind Hearts and Coronets, and The Lavender Hill Mob, as well as the seminal radio program The Goon Show. Against the postwar background of fading empire, universal rationing, and the implementation of a welfare state, these satires laid the foundation for a new British cultural identity later fleshed out by the Angry Young Men, the Movement poets, the Social Realists, and those involved in the satire boom of the 1960s, which lives on even to this day. The pec...
Mind Reeling
Mind Reeling investigates how cinema displays and mirrors psychological disorders, such as bipolar disorder, amnesia, psychotic delusions, obsessive compulsive behavior, trauma, paranoia, and borderline personalities. It explores a range of genres, including biopics, comedies, film noirs, contemporary dramedies, thrillers, Gothic mysteries, and docufictions. The contributors open up critical approaches to audience fascination with film depictions of serious disturbances within the human psyche. Many films examined here have had little scholarly attention and commentary. These essays focus on how cinematic techniques contribute to popular culture's conception of mental dysfunction, trauma, and illness. This book reveals the complex artistic and generic patterns that produce contemporary images of psychopathology in cinema.
Hollywood in the Neighborhood
Hollywood in the Neighborhood presents a vivid new picture of how movies entered the American heartland—the thousands of smaller cities, towns, and villages far from the East and West Coast film centers. Using a broad range of research sources, essays from scholars including Richard Abel, Robert Allen, Kathryn Fuller-Seeley, Terry Lindvall, and Greg Waller examine in detail the social and cultural changes this new form of entertainment brought to towns from Gastonia, North Carolina to Placerville, California, and from Norfolk, Virginia to rural Ontario and beyond. Emphasizing the roles of local exhibitors, neighborhood audiences, regional cultures, and the growing national mass media, their essays chart how motion pictures so quickly and successfully moved into old opera houses and glittering new picture palaces on Main Streets across America.
