Eastern Approaches to Western Film: Asian Aesthetics and Reception in Cinema offers a renewed critical outlook on Western classic film directly from the pantheon of European and American masters, including Alfred Hitchcock, George Lucas, Robert Bresson, Carl Dreyer, Jean-Pierre Melville, John Ford, Leo McCarey, Sam Peckinpah, and Orson Welles. The book contributes an “Eastern Approach” into the critical studies of Western films by reappraising selected films of these masters, matching and comparing their visions, themes, and ideas with the philosophical and paradigmatic principles of the East. It traces Eastern inscriptions and signs embedded within these films as well as their social lifestyle values and other concepts that are also inherently Eastern. As such, the book represents an effort to reformulate established discourses on Western cinema that are overwhelmingly Eurocentric. Although it seeks to inject an alternative perspective, the ultimate aim is to reach a balance of East and West. By focusing on Eastern aesthetic and philosophical influences in Western films, the book suggests that there is a much more thorough integration of East and West than previously thought or imagined.

Fitztroy Maclean was one of the real-life inspirations for super-spy James Bond. After adventures in Soviet Russia before the war, Maclean fought with the SAS in North Africa in 1942. There he specialised in hair-raising commando raids behind enemy lines, including the daring and outrageous kidnapping of the German Consul in Axis-controlled Iraq. Maclean's extraordinary adventures in the Western Desert and later fighting alongside Tito's partisans in Yugoslavia are blistering reading and show what it took to be a British hero who broke the mould . . .

What is the nature of the relationship between the Hollywood Western and American frontier mythology? How have Western films helped develop cultural and historical perceptions, attitudes and beliefs towards the frontier? Is there still a place for the genre in light of revisionist histories of the American West?Myth of the Western re-invigorates the debate surrounding the relationship between the Western and frontier mythology, arguing for the importance of the genre's socio-cultural, historical and political dimensions. Taking a number of critical-theoretical and philosophical approaches, Matthew Carter applies them to prominent forms of frontier historiography. He also considers the historiographic element of the Western by exploring the different ways in which the genre has responded to the issues raised by the frontier. Carter skilfully argues that the genre has - and continues to reveal - the complexities and contradictions at the heart of US society. With its clear analyses of and intellectual challenges to the film scholarship that has developed around the Western over a 65-year period, this book adds new depth to our understanding of specific film texts and of the genre as a whole - a welcome resource for students and scholars in both Film Studies and American Studies.

WHAT IS THE STORY GRID? The Story Grid is a tool developed by editor Shawn Coyne to analyze stories and provide helpful editorial comments. It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult). The Story Grid is a tool with many applications: 1. It will tell a writer if a Story ?works? or ?doesn't work. 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story'the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation.

From the Ancient Greeks' obsession with the armies of the Persians, Westerners have been irresistibly drawn to the exotic nature of "Oriental" warfare and have sought either to emulate their enemies' imagined ways of fighting or to incorporate Eastern warriors and "martial races," such as the Sikhs and Gurkhas, in their own forces. The alluring yet terrifying prospect of Samurai warriors, obedient to an ancient code of chivalry, or of the Mongol cavalry thundering across the steppes, continue to grip our imagination, while the courage and fighting prowess of today's "Eastern" warriors, the Taliban and Hezbollah, have been grudgingly acknowledged by the high tech armies of NATO in Afghanistan and the IDF in Lebanon. Such romantic notions are based on a highly questionable premise, namely that race, culture and tradition are separate and primordial, and that they determine how societies fight. But how far does culture shape war? Do non-Westerners approach strategy, combat, or death in ways intrinsically different from their Eastern neighbours? This debate can be tracked through time, from Herodotus onwards, and features in innumerable histories and literary works as well as in poetry, art and oral epics. Yet there are few histories of the idea itself. Military Orientalism argues that viewing culture as a script that dictates warfare is wrong, and that our obsession with the exotic can make it harder, not easier, to know the enemy. Culture is powerful, but it is an ambiguous repertoire of ideas rather than a clear code for action. To divide the world into western, Asiatic or Islamic ways of war is a delusion, one whose profound impact affects contemporary war and above all the War on Terror. Porter's fascinating book explains why the "Oriental" warrior inspires fear, envy and wonder and how this has shaped the way Western armies fight.

By the time the Berlin Wall collapsed, the cinema of the German Democratic Republic—to the extent it was considered at all—was widely regarded as a footnote to European film history, with little of enduring value. Since then, interest in East German cinema has exploded, inspiring innumerable festivals, books, and exhibits on the GDR’s rich and varied filmic output. In Re-Imagining DEFA, leading international experts take stock of this vibrant landscape and plot an ambitious course for future research, one that considers other cinematic traditions, brings genre and popular works into the fold, and encompasses DEFA’s complex post-unification “afterlife.”

What Is Medicine? Western and Eastern Approaches to Healing is the first comparative history of two millennia of Western and Chinese medicine from their beginnings in the centuries BCE through present advances in sciences like molecular biology and in Western adaptations of traditional Chinese medicine. In his revolutionary interpretation of the basic forces that undergird shifts in medical theory, Paul U. Unschuld relates the history of medicine in both Europe and China to changes in politics, economics, and other contextual factors. Drawing on his own extended research of Chinese primary sources as well as his and others' scholarship in European medical history, Unschuld argues against any claims of "truth" in former and current, Eastern and Western models of physiology and pathology. What Is Medicine? makes an eloquent and timely contribution to discussions on health care policies while illuminating the nature of cognitive dynamics in medicine, and it stimulates fresh debate on the essence and interpretation of reality in medicine's attempts to manage the human organism.

films. --Book Jacket.

From the Preface: The purpose of this book is to explain the Western's popularity. While the Western itself may seem simple (it isn't quite), an explanation of its popularity cannot be; for the Western, like any myth, stands between individual human consciousness and society. If a myth is popular, it must somehow appeal to or reinforce the individuals who view it by communicating a symbolic meaning to them. This meaning must, in turn, reflect the particular social institutions and attitudes that have created and continue to nourish the myth. Thus, a myth must tell its viewers about themselves and their society. This study, which takes up the question of the Western as an American myth, will lead us into abstract structural theory as well as economic and political history. Mostly, however, it will take us into the movies, the spectacular and not-so-spectacular sagebrush of the cinema. Unlike most works of social science, the data on which my analysis is based is available to all of my readers, either at the local theater or, more likely, on the late, late show. I hope you will take the opportunity, whenever it is offered, to check my findings and test my interpretations; the effort is small and the rewards are many. And if your wife, husband, mother, or child asks you why you are wasting your time staring at Westerns on TV in the middle of the night, tell them firmly—as I often did—that you are doing research in social science. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977. From the Preface: The purpose of this book is to explain the Western's popularity. While the Western itself may seem simple (it isn't quite), an explanation of its popularity cannot be; for the Western, like any myth, stands between individual human consc

Explores the intersections of science fiction cinema and Marxism.