The first book to unpack American cinema's long history of representing death, this work considers movie sequences in which the process of dying becomes an exercise in legibility and exploration for the camera. Reading attractions-based cinema, narrative films, early sound cinema, and films using voiceover or images of medical technology, C. Scott Combs connects the slow or static process of dying to formal film innovation throughout the twentieth century. He looks at Thomas Edison's E...

A hospice chaplain's lessons on the meaning of life, from those who are leaving itWhat are the top regrets of the dying? That's what Kerry Egan, a hospice chaplain, learned as she listened to her patients on their deathbeds, witnessing what she calls the "spiritual work of dying" - the work of finding or making meaning of one's life, the experiences it contained and the people who have touched it. In this book she recalls the stories she heard - stories of hope and...

**One of NPR’s Great Reads of 2016“A lively assemblage and smart analysis of dozens of haunting stories…absorbing…[and] intellectually intriguing.” —The New York Times Book ReviewFrom the author of The Unidentified, an intellectual feast for fans of offbeat history that takes readers on a road trip through some of the country’s most infamously haunted places—and deep into the dark side of our history.**Colin Dickey is on the trail of America’s ghos...

Does humour make us human, or do the cats and dogs laugh along with us? On Humour is a fascinating, beautifully written and funny book on what humour can tell us about being human. Simon Critchley skilfully probes some of the most perennial but least understood aspects of humour, such as our tendency to laugh at animals and our bodies, why we mock death with comedy and why we think it's funny when people act like machines. He also looks at the darker side of humour, as rife in sex...

Movement as Meaning in Experimental Cinema offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis o...

Film Worlds unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affe...

Two screenwriters once walked into a Hollywood producer's office and said three words 'Jaws in space.' Those three words won them the contract for the blockbuster movie Alien.The ability to pitch well is essential for all writers, directors and producers in cinema and TV. Strong pitching skills will accelerate your career - not only helping you sell your projects, but also developing them in the first place, focusing on what makes a story work, clarifying character and plo...

Hollywood makes the most widely successful pleasure-giving artworks the world has ever known. The industry operates under the assumption that pleasurable aesthetic experiences, among huge populations, translate into box office success. With that goal in mind, Hollywood has systematized the delivery of aesthetic pleasure, packaging and selling it on a massive scale. In Hollywood Aesthetic, Todd Berliner accounts for the chief attraction of Hollywood cinema worldwide: its entertainm...

Is there too much violence in hip-hop music? What’s the difference between Kimberly Jones and the artist Lil' Kim? Is hip-hop culture a "black" thing? Is it okay for N.W.A. to call themselves niggaz and for Dave Chappelle to call everybody bitches? These witty, provocative essays ponder these and other thorny questions, linking the searing cultural issues implicit - and often explicit - in hip-hop to the weighty matters examined by the great philosophers of the past. The book shows that ra...

Video games, YouTube channels, Blu-ray discs, and other forms of "new" media have made theatrical cinema seem "old." A sense of "cinema lost" has accompanied the ascent of digital media, and many worry film's capacity to record the real is fundamentally changing. Yet the Surrealist movement never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Returning to their interpretation of film's aesthetics and function, this book reads the writin...

Real Deceptions develops a new theory of realism through close consideration of myriad contemporary art, media, and cultural practices. Rather than focusing on transgressing deceptions which distort reality, the book argues that reality lies within the deceptions themselves. That is to say, realism's political potential emerges not by revealing deception but precisely by staging deceptions--particularly deceptions that imperil the very categories of true and false. In lieu of perc...

Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society.Kappelhoff applies the Deleuzean practice of "thinking in...