"An Oscar for Zagat's "Movie Guide"--fun, entertaining, and informative."--Michael Lynn, chairman, New Line Cinema.

Alice Munro has devoted her entire career to the short story form in her fourteen collections, having won the Nobel Prize in Literature “as master of the contemporary short story”. This edited volume investigates her art as a storyteller, the processes she performs on the contemporary short story genre in her creative anatomical theatre. Divided into five topical sections, it is a collection of scholarly chapters which offer textual insights into a single story, compare two or more texts, or casts a more panoramic view on Munro’s literary production, embracing stories from her first collection Dance of the Happy Shades to her last published Dear Life. Through different critical approaches that range from post-structuralism to cultural studies, from linguistics and rhetorical analyses to translation studies, the authors insist on the concept that no fixed patterns prevail in her short stories, as Munro has constantly developed, challenged, and revised existing modes of generic configuration, while discussing the fluidity, the elusiveness, the indeterminacy, the ambiguity of her superb writing.

Now over twenty years old, the original edition ofNightmare Movies has retained its place as a true classic of cult filmcriticism. In this new edition, Kim Newman brings his seminal work completelyup to date, both reassessing his earlier evaluations and adding a second partthat analyses the last two decades of horror films with all the wit,intelligence and insight for which he is known. Since the publication of thefirst edition, horror has been on a gradual upswing and has gained a new andstronger hold over the film industry. Newman negotiates his way through a vastback catalogue of horror and charts the on-screen progress of our collectivefears and bogeymen, from the low-budget slasher movies of the 1960s, through tothe slick releases of the 2000s. Nightmare Movies is an invaluable companion that not onlyprovides a newly updated history of the darker side of film but also acts as atruly entertaining guide with which to explore the less well-trodden paths ofhorror and rediscover the classics with a newly instructed eye.

Beasts of the Deep: Sea Creatures and Popular Culture offers its readers an in-depth and interdisciplinary engagement with the sea and its monstrous inhabitants; through critical readings of folklore, weird fiction, film, music, radio and digital games. Within the text there are a multitude of convergent critical perspectives used to engage and explore fictional and real monsters of the sea in media and folklore. The collection features chapters from a variety of academic perspectives; post- modernism, psychoanalysis, industrial-organisational analysis, fandom studies, sociology and philosophy are featured. Under examination are a wide range of narratives and media forms that represent, reimagine and create the Kraken, mermaids, giant sharks, sea draugrs and even the weird creatures of H.P. Lovecraft. Beasts of the Deep offers an expansive study of our sea-born fears and anxieties, that are crystallised in a variety of monstrous forms. Repeatedly the chapters in the collection encounter the contemporary relevance of our fears of the sea and its inhabitants – through the dehumanising media depictions of refugees in the Mediterranean to the encroaching ecological disasters of global warming, pollution and the threat of mass marine extinction.

ÔThe International Handbook on Teaching and Learning Economics is a power packed resource for anyone interested in investing time into the effective improvement of their personal teaching methods, and for those who desire to teach students how to think like an economist. It sets guidelines for the successful integration of economics into a wide variety of traditional and non-traditional settings in college and graduate courses with some attention paid to primary and secondary classrooms. . . The International Handbook on Teaching and Learning Economics is highly recommended for all economics instructors and individuals supporting economic education in courses in and outside of the major. This Handbook provides a multitude of rich resources that make it easy for new and veteran instructors to improve their instruction in ways promising to excite an increasing number of students about learning economics. This Handbook should be on every instructorÕs desk and referenced regularly.Õ Ð Tawni Hunt Ferrarini, The American Economist ÔIn delightfully readable short chapters by leaders in the sub-fields who are also committed teachers, this encyclopedia of how and what in teaching economics covers everything. There is nothing else like it, and it should be required reading for anyone starting a teaching career Ð and for anyone who has been teaching for fewer than 50 years!Õ Ð Daniel S. Hamermesh, University of Texas, Austin, US The International Handbook on Teaching and Learning Economics provides a comprehensive resource for instructors and researchers in economics, both new and experienced. This wide-ranging collection is designed to enhance student learning by helping economic educators learn more about course content, pedagogic techniques, and the scholarship of the teaching enterprise. The internationally renowned contributors present an exhaustive compilation of accessible insights into major research in economic education across a wide range of topic areas including: ¥ Pedagogic practice Ð teaching techniques, technology use, assessment, contextual techniques, and K-12 practices. ¥ Research findings Ð principles courses, measurement, factors influencing student performance, evaluation, and the scholarship of teaching and learning. ¥ Institutional/administrative issues Ð faculty development, the undergraduate and graduate student, and international perspectives. ¥ Teaching enhancement initiatives Ð foundations, organizations, and workshops. Grounded in research, and covering past and present knowledge as well as future challenges, this detailed compendium of economics education will prove an invaluable reference tool for all involved in the teaching of economics: graduate students, new teachers, lecturers, faculty, researchers, chairs, deans and directors.

Movie-Made Jews focuses on a rich, usable American Jewish cinematic tradition. This tradition includes fiction and documentary films that make Jews through antisemitism, Holocaust indirection, and discontent with assimilation. It prominently features the unapologetic assertion of Jewishness, queerness, and alliances across race and religion. Author Helene Meyers shows that as we go to our local theater, attend a Jewish film festival, play a DVD, watch streaming videos, Jewishness becomes part of the multicultural mosaic rather than collapsing into a generic whiteness or being represented as a life apart. This engagingly-written book demonstrates that a Jewish movie is neither just a movie nor for Jews only. With incisive analysis, Movie-Made Jews challenges the assumption that American Jewish cinema is a cinema of impoverishment and assimilation. While it’s a truism that Jews make movies, this book brings into focus the diverse ways movies make Jews.

In this guidebook John White discusses the evolution of the Western through history, looking at theoretical and critical approaches to the genre.

Gender and Action Films 1980-2000 offers insights into the intertwined concepts of gender and action, and how their portrayal developed in the Action Movie genre during the final two decades of the twentieth century. A necessity for academics, students and lovers of film and media and those interested in gender studies.

From the critically acclaimed Malaysian film Sepet to the on-going box office successes of the films created by Hong Kong director Wong Kar Wai, cinematic texts from the nations of Asia are increasingly capturing audiences beyond their national boundaries. Tradition, Culture and Aesthetics in Contemporary Asian Cinema explores the rise of popular Asian cinema and provides an understanding of the aesthetic elements that mark these films as 'Asian cinema'. Incorporating examples of contemporary films from China, Japan, Hong Kong, Korea, Singapore, Malaysia and India, Peter C. Pugsley gives readers a fresh insight into the rapidly developing discourse on popular Asian media. The book's chapters focus on the aesthetic features of national cinemas and the intersections of local/global encountered in the production, distribution and consumption of contemporary Asian films. By tracking across some of the most influential countries in Asia the book is able to offer new perspectives into the visual and aural features that create greater understanding between East and West. As distribution and technological advances make Asian films more readily available, an understanding of the different aesthetics at play will enable readers of this book to recognise key cultural motifs found in cinematic texts from Asia.