"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole.

A guide to the issues relevant to the design, analysis, and interpretation of toxicity studies that examine chemicals for use in the environment Statistical Analysis of Ecotoxicity Studies offers a guide to the design, analysis, and interpretation of a range of experiments that are used to assess the toxicity of chemicals. While the book highlights ecotoxicity studies, the methods presented are applicable to the broad range of toxicity studies. The text contains myriad datasets (from laboratory and field research) that clearly illustrate the book's topics. The datasets reveal the techniques, pitfalls, and precautions derived from these studies. The text includes information on recently developed methods for the analysis of severity scores and other ordered responses, as well as extensive power studies of competing tests and computer simulation studies of regression models that offer an understanding of the sensitivity (or lack thereof) of various methods and the quality of parameter estimates from regression models. The authors also discuss the regulatory process indicating how test guidelines are developed and review the statistical methodology in current or pending OECD and USEPA ecotoxicity guidelines. This important guide: Offers the information needed for the design and analysis to a wide array of ecotoxicity experiments and to the development of international test guidelines used to assess the toxicity of chemicals Contains a thorough examination of the statistical issues that arise in toxicity studies, especially ecotoxicity Includes an introduction to toxicity experiments and statistical analysis basics Includes programs in R and excel Covers the analysis of continuous and Quantal data, analysis of data as well as Regulatory Issues Presents additional topics (Mesocosm and Microplate experiments, mixtures of chemicals, benchmark dose models, and limit tests) as well as software Written for directors, scientists, regulators, and technicians, Statistical Analysis of Ecotoxicity Studies provides a sound understanding of the technical and practical issues in designing, analyzing, and interpreting toxicity studies to support or challenge chemicals for use in the environment.

Summary: Defamiliarisation or ostrannenie, the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar, ihas become one of the central concept of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the Soviet literary critic Victor Shklovskii in 1917, ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the French philosopher Derrida's concept of differance, bordering on 'differing' and 'deferring'. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry.

Although Kenji Mizoguchi is one of the three most important Japanese directors (along with Yasujiro Ozu and Akira Kurosawa), there has been no systematic critical study of his work in English. Correcting this omission. Donald Kirihara examines in detail the brilliant early works of one of the world's great film directors, offering an analysis of his career.

Did you know— • It took more than an iceberg to sink the Titanic. • The Challenger disaster was predicted. • Unbreakable glass dinnerware had its origin in railroad lanterns. • A football team cannot lose momentum. • Mercury thermometers are prohibited on airplanes for a crucial reason. • Kryptonite bicycle locks are easily broken. “Things fall apart” is more than a poetic insight—it is a fundamental property of the physical world. Why Things Break explores the fascinating question of what holds things together (for a while), what breaks them apart, and why the answers have a direct bearing on our everyday lives. When Mark Eberhart was growing up in the 1960s, he learned that splitting an atom leads to a terrible explosion—which prompted him to worry that when he cut into a stick of butter, he would inadvertently unleash a nuclear cataclysm. Years later, as a chemistry professor, he remembered this childhood fear when he began to ponder the fact that we know more about how to split an atom than we do about how a pane of glass breaks. In Why Things Break, Eberhart leads us on a remarkable and entertaining exploration of all the cracks, clefts, fissures, and faults examined in the field of materials science and the many astonishing discoveries that have been made about everything from the explosion of the space shuttle Challenger to the crashing of your hard drive. Understanding why things break is crucial to modern life on every level, from personal safety to macroeconomics, but as Eberhart reveals here, it is also an area of cutting-edge science that is as provocative as it is illuminating.

A collection of essays on the work of controversial Italian writer, dramatist, and filmmaker Pier Paolo Pasolini. Contributions focus on Pasolini's self-involvement and his analyses of language, aesthetics, and film, among other topics. Attention is also given to differences in Pasolini's reception

The artistic impact of Jean-Luc Godard, whose career in cinema has spanned over fifty years and yielded a hundred or more discrete works in different media cannot be overestimated, not only on French and other world cinemas, but on fields as diverse as television, video art, gallery installation, philosophy, music, literature, and dance. The Legacies of Jean-Luc Godard marks an initial attempt to map the range and diversity of Godard’s impact across these different fields. It contains reassessments of key films like Vivre sa vie and Passion as well as considerations of Godard’s influence over directors like Christophe Honoré. Contributors look at Godard’s relation to philosophy and influence over film philosophy through reference to Wittgenstein, Deleuze, and Cavell, and show how Godard’s work in cinema interacts with other arts, such as painting, music, and dance. They suggest that Godard’s late work makes important contributions to debates in memory and Holocaust Studies. The volume will appeal to a non-specialist audience with its discussions of canonical films and treatment of themes popular within film studies programs such as cinema and ethics. But it will also attract academic specialists on Godard with its chapters on recent works, including Dans le noir du temps (2002) and Voyage(s) en utopie (2006), interventions in long-running academic debates (Godard, the Holocaust, and anti- Semitism), and treatment of rarely discussed areas of Godard’s work (choreographed movement).

It’s summer, 2016. Chelsea Farmer has awoken from one nightmare into another. Once a call girl with no control over her life, she’s lost even more control, becoming another statistic in the opioid epidemic eating America from the inside out. Shacking up with a woman she may or may not be in love with, and three men unaware of just how useless they’ve become, she participates in home invasions to steal material goods that can be traded for pills or, even better, heroin. In between hits, the gang finds other ways to scrape together money, such as getting paid to march in a protest-turned-riot against presidential candidate Donald Trump. As the habit increases, calls for more crimes to feed it, the boys get increasingly violent with the victims of their home invasions. How long will it be before they actually kill a homeowner who refuses to cooperate? Chelsea must decide whether or not she’s willing to hang around and find out. Praise for BREAKING GLASS: “Alec Cizak hits streets we don’t want to live on and he hits them hard. For a writer as good as Cizak, that isn’t enough. Breaking Glass is the story of an addict who stumbles into a chance at recovery only to have her past come back on her. Can she redeem herself while maintaining her newfound peaceful self? This book raises brutal questions and gives the answers it must.” —Rob Pierce “Alec Cizak continues to tap into the bleakness of modern life that he did with Down on the Street. Breaking Glass is so dark and troubling it will make you cry for mercy as he joins Poe and Lovecraft in finding new ways to disturb you.” —David Nemeth “In addition to containing the single best death scene—ever, in the history of writing—Alec Cizak’s Breaking Glass paints a condemnation and a begrudging acceptance of our post-PC culture, told through the eyes of Chelsea Farmer, a millennial dope fiend. Part Tom Sawyer and part Alex from A Clockwork Orange, Chelsea takes us on a tour of an America where hardcore violence and sickening sexual predation are givens; yet subliminal microaggressions end careers and the definition of rape is as elusive and fluid as a spoon-cooked tab of oxycontin. I was hooked.” —Grant Jerkins “Alec Cizak’s writing is clean, full of dark humor and pulpy edge; all of which highlights his fast dialogue and faster plot. His expert use of language allows him to build believable, interesting characters and create realistic, though bleak, situations. Manifesto Destination and Down on the Street solidify his position next to the greatest writers of hard-boiled fiction. Every story he creates is thrilling and compelling.” —Marietta Miles