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The Many Lives of It
After its publication in 1986, Stephen King's novel It sparked sequels, remakes, parodies and solidified an entire genre: clown horror. Decades later, director Andy Muschietti revitalized King's popular novel, smashing all box office expectations with the release of his 2017 film It. At the time of its release, the movie set the record for the world's highest-grossing horror film. Examining the legacy of the controversial cult novel, the 2017 box office sensation and other incarnations of the demonic clown Pennywise, this collection of never-before-published essays covers the franchise from a variety of perspectives. Topics include examinations of the carnivalesque in both the novel and films, depictions of sexuality and theology in the book, and manifestations of patriarchy and the franchise, among other diverse subjects.
David Fincher's Zodiac
David Fincher’s Zodiac (2007), written by producer James Vanderbilt and adapted from the true crime works of Robert Graysmith, remains one of the most respected films of the early twenty-first century. As the second film featuring a serial killer (and the first based on fact) by Fincher, Zodiac remains a standout in a varied but stylistically unified career. While connected to this genre, the film also hybridizes the policier genre and the investigative reporter film. And yet, scholarship has largely ignored the film. This collection is the first book-length work of criticism dedicated to the film. Section One focuses on early influences, while the second section analyzes the film’s unique treatment of narrative. The book closes with a section focusing on game theory, data and hegemony, the Zodiac’s treatment in music, and the use of sound in cinema. By offering new avenues and continuing a few established ones, this book will interest scholars of cinema and true crime along with fans and enthusiasts in these areas.
A Companion to the War Film
A Companion to the War Film contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, and the diverse formats that war stories assume in today’s digital culture. Includes new works from experienced and emerging scholars that expand the scope of the genre by applying fresh theoretical approaches and archival resources to the study of the war film Moves beyond the limited confines of “the combat film” to cover home-front films, international and foreign language films, and a range of conflicts and time periods Addresses complex questions of gender, race, forced internment, international terrorism, and war protest in films such as Full Metal Jacket, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade, and Zero Dark Thirty Provides a nuanced vision of war film that brings the genre firmly into the 21st Century and points the way for exciting future scholarship
The New American Crime Film
The American crime film has recently enjoyed a surge in popularity and proliferation, making it the most pervasive genre in contemporary cinema. Though it now tackles current issues, it continues to reference the classic narratives and archetypes established in the great crime pictures of past decades. The titles explored in this critical survey feature a variety of themes and show that the crime film genre has fused with other genres to create fascinating hybrids. Focusing on character and plot construction, the author highlights the gangster and film noir traditions that still run strongly through recent American cinema. Among the many filmmakers analyzed within these pages are David Lynch, Gus Van Sant, David Mamet, Werner Herzog, Sam Raimi, David Cronenberg and the Coen Brothers. Stuart Gordon, director of the cult classic Re-Animator, provides the lively and incisive foreword.
Monsters, Law, Crime
Monsters, Law, Crime, an edited collection composed of essays written by prominent U.S. and international experts in Law, Criminology, Sociology, Anthropology, Communication and Film, constitutes a rigorous attempt to explore fertile interdisciplinary inquiries into “monsters” and “monster-talk,” and law and crime. This edited collection explores and updates contemporary discussions of the emergent and evolving frontiers of monster theory in relation to cutting-edge research on law and crime as extensions of a Gothic Criminology. This theoretical framework was initially developed by Caroline Joan “Kay” S. Picart, a Philosophy and Film professor turned Attorney and Law professor, and Cecil Greek, a Sociologist (Picart and Greek 2008). Picart and Greek proposed a Gothic Criminology to analyze the fertile synapses connecting the “real” and the “reel” in the flow of Gothic metaphors and narratives that abound around criminological phenomena that populate not only popular culture but also academic and public policy discourses. Picart's edited collection adapts the framework to focus predominantly on law and the social sciences.
Equity, Equality, and Empathy
Equity, Equality, and Empathy: What Principals Can Do for the Well-Being of the Learning Community presents seven principal actions detailing how to develop a successful well-being program. Moreover, leadership processes are advanced to aid principals in embracing, encouraging, and amplifying equity, equality, and empathy, as well as social and emotional learning. This book is written to guide principals in understanding that far too many social injustices plague not only the nation but school systems as well. Revealed are TOP-10 Steps to Quality Leadership effective in guiding campus leaders when working with others in overcoming biases, prejudices, and discriminatory actions and practices....
The Introspective Realist Crime Film
This book explores the formal and thematic conventions of crime film, the contexts in which these have flourished and their links with the social issues of a globalized world. The crime film has traditionally been identified with suspense, a heterogeneous aesthetic and a tacit social mind. However, a good number of the crime films produced since the early 2000s have shifted their focus from action or suspense and towards melodrama in narratives that highlight the social dimension of crime, intensify their realist aesthetics and dwell on subjectivity. With the 1940s wave of Hollywood semi-documentary crime films and 1970s generic revisionism as antecedents, these crime films find inspiration in Hollywood cinema and constitute a transnational trend. With a close look at Steven Soderbergh’s Traffic (2000), David Fincher’s Zodiac (2007), Jacques Audiard’s Un prophète (2009) and Tomas Alfredson’s Tinker Tailor Soldier Spy (2011), this book sets out the stylistic and thematic conventions, contexts and cultural significance of a new transnational trend in crime film.
Writing for the Screen
Writing for the Screen is a collection of essays and interviews exploring the business of screenwriting. This highly accessible guide to working in film and television includes perspectives from industry insiders on topics such as breaking in; pitching; developing and nurturing business relationships; juggling multiple projects; and more. Writing for the Screen is an ideal companion to screenwriting and filmmaking classes, demystifying the industry and the role of the screenwriter with real-world narratives and little-known truths about the business. With insight from working professionals, you’ll be armed with the information you need to pursue your career as a screenwriter. Contains essa...
The New Western
American moviegoers have long turned to the Hollywood Western for reassurance in times of crisis. During the genre's heyday, the films of John Ford, Howard Hawks and Henry Hathaway reflected a grand patriotism that resonated with audiences at the end of World War II. The tried-and-true Western was questioned by Ford and George Stevens during the Cold War, and in the 1960s directors like Sam Peckinpah and George Roy Hill retooled the genre as a commentary on American ethics during the Vietnam War. Between the mid-1970s and early 1990s, the Western faded from view--until the Gulf War, when Kevin Costner's Dances with Wolves (1990) and Clint Eastwood's Unforgiven (1992) brought it back, with moral complexities. Since 9/11, the Western has seen a resurgence, blending its patriotic narrative with criticism of America's place in the global community. Exploring such films as True Grit (2010) and Brokeback Mountain (2005), along with television series like Deadwood and Firefly, this collection of new essays explores how the Western today captures the dichotomy of our times and remains important to the American psyche.
The Cinema Coven
Witches and witchcraft are potent metaphors for feminine power, with a history that predates the advent of cinema. The figure of the witch represents a particularly fraught, contested kind of gendered power, and has long inspired filmmakers to explore themes of race, class, trauma, motherhood, grief, and identity. This book examines the relationship between women, witchcraft, and filmmaking, exploring types of storytelling and the central themes in these movies. Such films span the globe and have starred prominent figures like Madonna, Bette Midler, Bjork, and Nicole Kidman, as well as lesser-known women behind the scenes. Some of these filmmakers have premiered their works at major film festivals, while others have produced content for television and video releases. While notable in their diversity, these movies share one crucial thing: they were all created by women in an industry broadly dominated by men.
