Como grupo editorial, estamos orgullosos de decir que somos creadores de best-sellers, que pasan de ser éxitos locales a éxitos nacionales. Apostamos tanto por autores reconocidos como por autores noveles y nos interesamos en ampliar y renovar nuestro catálogo de manera constante. Como actores activos de la cultura, nuestro horizonte es ofrecer libros que participen de la construcción colectiva de contenidos de calidad.
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In the years after the First World War the British government had to adapt its communication policy to connect with the new mass electorate. This book examines the government's own Film Units and their slow development of the Public Information Film. By reviewing the entire film catalogue produced by the Empire Marketing Board, the General Post Office and Crown Film Units, particular themes are identified which not only reflect the demands of the Units' sponsors but also the anxieties and concerns of the 1930s and 1940s. The impact of the films is explored through the contemporary reaction of the audiences to them. By the time the Crown Film Unit was closed in 1952 a style of Public Information Film had been developed and continued into the 1970s.
Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in unexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval film will be of interest to medievalists working in disciplines including literature, history, art history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.
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Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in inexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval Film will be of interest to medievalists working in disciplines including literature, history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.
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Half of the Quilt(Picture Book Edition) is based on the movie Heart for Heart (produced by Xiaoxiang Film Group and directed by Meng Qi). In October 1934, the fifth anti-encirclement failed, the Central Red Army evacuated the Soviet Union and began the Long March. The Red Army field hospital was bombed by enemy planes and suffered heavy casualties. Dong Xiuyun, a female soldier who stayed at the field hospital to look after the wounded, decided to take the wounded with her and chase the troops. Dong Xiuyun took in the soldiers of the various units who were left alone along the road, forming a special team. After the team came to Shazhou Village, the three female Red Army lived in Xu Xiexiu's house. When parting, Dong Xiuyun cut the only one quilt in half to Xu Xiexiu. This book nourishes the young people's spiritual world with red culture, inherits the red gene, and allows the spirit of the Long March to be passed on from generation to generation among children.
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'Realist film theory and cinema' embraces studies of cinematic realism and 19th century tradition, the realist film theories of Lukács, Grierson, Bazin and Kracauer, and the relationship of realist film theory to the general field of film theory and philosophy. This is the first book to attempt a rigorous and systematic application of realist film theory to the analysis of particular films. The book suggests new ways forward for a new series of studies in cinematic realism, and for a new form of film theory based on realism. It stresses the importance of the question of realism both in film studies and in contemporary life. Aitken's work will be of interest to scholars and advanced students of film studies, literary studies, media studies, cultural studies and philosophy.
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Lukácsian film theory and cinema explores Georg Lukács' writings on film. The Hungarian Marxist critic Georg Lukács is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English - until now. Aitken has gathered together the most important essays and the translations appear here, often for the first time. This book thus makes a decisive contribution to understandings of Lukács within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukács' literary theory is well known for its repudiation of naturalism, in his writings on film Lukács appears to advance a theory and practice of film that can best be described as naturalist. Lukácsian film theory and cinema is divided into two parts. In part one, Lukács' writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves. This book will be of considerable interest to scholars and students working within the fields of film studies, literary studies, intellectual history, media and cultural studies. It is also intended to be the final volume in a trilogy of works on cinematic realism, which includes the author's earlier European film theory and cinema (2001), and Realist film theory and cinema (2006).
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European Film Noir is the first book to bring together specialist discussions of film noir in specific European national cinemas. Written by leading scholars, this groundbreaking study provides an authoritative understanding of an important aspect of European cinema and of film noir itself, for too long considered as a solely American form. The Introduction reviews the problems of defining film noir, its key characteristics and discusses its significance to the development of European film, the relationship of specific national films noirs to each other, to American noir and to historical and social change. Eight chapters then discuss film noir in France, Germany, Britain and Spain, analysing both earlier developments and the evolution of neo-noir through to the present. A further chapter explores film noir in Italian cinema where its presence is not so well defined. Each piece provides a critical overview of the most significant films in relation to their industrial and social contexts. European Film Noir is an important contribution to the study of European cinema that will have a broad appeal to undergraduates, cinéastes, film teachers and researchers.
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This book offers a comprehensive film-by-film analysis of Spain's most famous living director, Pedro Almodóvar. It shows how Almodóvar's films draw on various national cinemas and genres, including Spanish cinema of the dictatorship, European art cinema, Hollywood melodrama and film noir. It also argues that Almodóvar's work is a form of social critique, his films consistently engaging with and challenging stereotypes about traditional and contemporary Spain in order to address Spain's traumatic historical past and how it continues to inform the present. Drawing on scholarship in both English and Spanish, the book will be of interest to undergraduate and postgraduate students of film studies and Hispanic studies, scholars of contemporary cinema and general readers with a passion for the films of Pedro Almodóvar.
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The book is a collection of essays about the transformation of America, which has turned from a united nation to one more divided than ever. Some pundits predict that, if things don’t change, another civil war could occur. Have we reached a point of no return? Hopefully, America is mature enough to learn from its mistakes and avoid further scars along its evolving history. "Trumplandia is a welcome addition toward understanding current events, Washington’s international policy, and the present American society; a society polarized and divided as it has not been since the Civil War.” NICHOLAS DIMA, Ph.D., Adjunct Professor and Research Associate, Nelson Institute, James Madison University, Virginia. "The book is fascinating. It provides background to, and insights into [the] current and past political history as well as offering a personal view... of the country and society. Presented in thematic form in chapters and sections, the insights offered provide a suggestive radiography...” Dr. DENNIS DELETANT, OBE, School of Foreign Service, Georgetown University, Washington DC. "There has been this backsliding in... what a truly functioning rule-of-law state is, that has proper separation of co-equal powers, which, if you don’t keep working on that, you backslide. And I am even worried about that here, in the United States right now, about backsliding.” OBIE MOORE, Esq., OLM Advisors LLC, Washington DC “Indeed, Trumplandia should be a welcome addition to any scholar, student or layman’s library, especially in its international edition. If anyone loses sleep over its challenging assertions, then it will have been well worth it.” ERNESTO MORALES HIZON, Ph.D. Candidate in American and Comparative Politics at Claremont Graduate University, Member, Integrated Bar of the Philippines ABOUT THE AUTHOR: TIBERIU DIANU has practiced law in Romania (as a corporate lawyer, judge, senior counselor at the Ministry of Justice, university professor and senior legal researcher), and in the United States (as a legal expert for the judiciary). He published several books and a host of articles in law, politics, and post-communist societies. Tiberiu currently lives and works in Washington, DC.
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One of the first books to put memory at the centre of analysis when exploring the relationship between film culture and the past. Provides a sustained, interdisciplinary perspective on memory and film from early cinema to the present, drawing from film studies, American studies and cultural studies. Adopts a resolutely cultural perspective and unlike psychoanalytic or formalist approaches to memory, explores questions of culture, power and identity. Contributes to the growing debate about the status and function of the past in cultural life and discourse, discussing issues of memory in film, and of film as memory. Considers such well known films as Forrest Gump, Pleasantville, and Jackie Brown.
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This title chooses 40 winners of Cannes Film Festival to introduce and analyze to the readers. The author not only gives thorough representation of these classical works, but also express his own ideas about good films, the standard and core spirit of Cannes Film Festival.
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An incidental pleasure of watching a film is what it tells us about the society in which it is made. Using a sociological model, The British working class in postwar film looks at how working-class people were portrayed in British feature films in the decade after the Second World War. Though some of the films examined are well known, others have been forgotten and deserve reassessment. Original statistical data is used to assess the popularity of the films with audiences. With its interdisciplinary approach and the avoidance of jargon, this book seeks to broaden the approach to film studies. Students of media and cultural studies are introduced to the skills of other disciplines, while sociologists and historians are encouraged to consider the value of film evidence in their own fields. This work should appeal to all readers interested in social history and in how cinema and society works.
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Were it not for authoritarian state censorship, Cecilia Bartolomé's name would figure alongside those of her contemporaries Agnès Varda and Claire Denis as a pioneering feminist filmmaker of the twentieth century. With this bold claim, this book seeks both to write the history of Bartolomé's extant filmography, and speculative about censored and un-filmed work, thereby fashioning a new way of writing a feminist creative life in film. The first volume on this director to be written in English, The Cinema of Cecilia Bartolomé is also the first volume on the director published in any language for over twenty years. By focusing on Spanish-language cinema of the 1960s-1990s, the period when feminism, like democracy, was re-born and seemingly consolidated in Spain, the study brings historical depth and transnational reach to current debates in the wake of #MeToo.
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Curating empire explores the diverse roles played by museums and their curators in moulding and representing the British imperial experience. This collection demonstrates how individuals, their curatorial practices, and intellectual and political agendas influenced the development of a variety of museums across the globe. Taken together, these contributions suggest that museums are not just sites for accessing history but need to be considered as historical sites of significance in themselves. Individual essays examine the work of curators in museums in Britain and the colonies, the historical display and interpretation of empire in Britain, and the establishment of 'museum networks' in the British imperial context. Curating empire sheds new light on the relationship between museums, as repositories for objects and cultural institutions for conveying knowledge, and the politics of culture and the formation of identities throughout the British Empire.
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Destination branding and marketing form the backbone of tourism industry growth, but it is increasingly important that the strategies employed consider and promote sustainable solutions. This book provides a comprehensive set of tools and techniques for branding and marketing for sustainable tourism development. It blends tourism and marketing strategies with practical, innovative information technology solutions and a psychological perspective, providing illustrative case studies and examples to aid understanding. Addressing opportunities and challenges across the field, it also reviews how different types of tourism such as community based, accessible, film, agricultural and cultural-heritage tourism entail unique issues for development. Competition between destinations has led to a real need for different strategies in order to differentiate the tourism product. This book: - Uniquely covers both marketing and branding of a destination from a sustainability perspective; - Considers the role of emotions and experiences when advertising a destination; - Brings together a set of global authors to provide a varied and universally applicable approach to the subject. A thought-provoking read for anyone interested in questions of sustainability in destinations, this book provides an invaluable resource for researchers of tourism, marketing and international development studies as well as destination managers.
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In this book, Brenda M. King challenges the notion that Britain always exploited its empire. Creativity, innovation and entrepreneurship were all part of the Anglo-Indian silk trade and were nurtured in the era of empire through mutually beneficial collaboration. The trade operated within and without the empire, according to its own dictates and prospered in the face of increasing competition from China and Japan. King presents a new picture of the trade, where the strong links between Indian designs, the English silk industry and prominent members of the English the arts and crafts movement led to the production of beautiful and luxurious textiles. Lavishly illustrated, this book will be of interest to those interested in the relationship between the British Empire and the Indian subcontinent, as well as by historians of textiles and fashion.
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Air empire is a fresh study of civil aviation as a tool of late British imperialism. The first pioneering flights across the British empire in 1919-20 were flag-waving adventures that recreated an era of plucky British maritime exploration and conquest. Britain's development of international air routes and services was approved, organised and celebrated largely in London; there was some resistance in and beyond the subordinate colonies and dominions. Negotiating the financing and geopolitics of regular commercial air service delayed its inception until the 1930s. Technological, managerial and logistical problems also meant that Britain was slow into the air and slow in the air. Propaganda concealed underperformance and criticism. The study uses archival sources, biographies, industry magazines and newspapers to chronicle the disputed progress toward air empire. The rhetoric behind imperial air service offers a glimpse of late imperial hopes, fears, attitudes and style. Empire air service had emotional appeal and symbolic value, but disappointed in practice.
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Child, nation, race and empire is an innovative, inter-disciplinary, cross cultural study that contributes to understandings of both contemporary child welfare practices and the complex dynamics of empire. It analyses the construction and transmission of nineteenth-century British child rescue ideology. Locating the origins of contemporary practice in the publications of the prominent English Child rescuers, Dr Barnardo, Thomas Bowman Stephenson, Benjamin Waugh, Edward de Montjoie Rudolf and their colonial disciples and literature written for children, it shows how the vulnerable body of the child at risk came to be reconstituted as central to the survival of nation, race and empire. Yet, as the shocking testimony before the many official enquiries into the past treatment of children in out-of-home 'care' held in Britain, Ireland, Australia and Canada make clear, there was no guarantee that the rescued child would be protected from further harm.
