Robert Penn Warren once wrote West is where we all plan to go some day, and indeed, images of the westernmost United States provide a mythic horizon to American cultural landscape. While the five states (California, Oregon, Washington, Alaska, and Hawai'i) which touch Pacific waters do share commonalities within the history of westward expansion, the peoples who settled the region—and the indigenous peoples they encountered—have created spheres of culture that defy simple categorization. This wide-ranging reference volume explores the marvelously eclectic cultures that define the Pacific region. From the music and fashion of the Pacific northwest to the film industry and surfing subcultures of southern California, from the vast expanses of the Alaskan wilderness to the schisms between native and tourist culture in Hawa'ii, this unprecedented reference provides a detailed and fascinating look at American regionalism along the Pacific Rim. The Greenwood Encyclopedia of American Regional Cultures is the first rigorous reference collection on the many ways in which American identity has been defined by its regions and its people. Each of its eight regional volumes presents thoroughly researched narrative chapters on Architecture; Art; Ecology & Environment; Ethnicity; Fashion; Film & Theater; Folklore; Food; Language; Literature; Music; Religion; and Sports & Recreation. Each book also includes a volume-specific introduction, as well as a series foreword by noted regional scholar and former National Endowment for the Humanities Chairman William Ferris, who served as consulting editor for this encyclopedia.

B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.

"The Connected Screenwriter is the essential guide for all aspiring, new, and established writers for the screen. Covering every aspect of scriptwriting for the small and big screen, this guide includes hundreds of useful, easy-to-search, detailed contact entries ranging from courses, societies, and grants to representation and production companies. Along with provocative articles and valuable advice from top creators in the industry, this is the only practical guide that provides the most comprehensive information for all screenwriters." --Book Jacket.

A comprehensive reference guide that covers over 3,500 observances. Features both secular and religious events from many different cultures, countries, and ethnic groups. Includes contact information for events; multiple appendices with background information on world holidays; extensive bibliography; multiple indexes.

Cinema under National Reconstruction calls for a revisionist understanding of state film censorship during successive Cold War military regimes in South Korea (1961–1988). Drawing upon primary documents from the Korean Film Archive’s digitized database and framing South Korean film censorship from a transnational perspective, Hye Seung Chung makes the case that, while political oppression/repression existed inside and outside the film industry during this period, film censorship was not simply a tool for authoritarian dictatorship. Through such case studies as Yu Hyun-mok’s The Stray Bullet (1961), Ha Kil-jong’s The March of the Fools (1975), and Yi Chang-ho’s Declaration of Fools (1983), the author defines censorship as a dialogical process of cultural negotiations wherein the state, the film industry, and the public fight out a battle over the definitions and functions of national cinema. In the context of Cold War Korea, one cannot fully understand or construct film history without reassessing censorship as a productive feedback system where both state regulators and filmmakers played active roles in shaping the new narrative or sentiment of the nation on the big screen.

This book is a collection of essays that examine the integrated relationship that the 1958 Alfred Hitchcock film Vertigo has with the history and culture of California and the San Francisco Bay area.