Foster Hirsch's Dark Side of the Screen is by far the most thorough and entertaining study of the themes, visual motifs, character types, actors, directors, and films in this genre ever published. From Billy Wilder, Douglas Sirk, Robert Aldrich, and Howard Hawkes to Martin Scorsese, Roman Polanski, and Paul Schrader, the noir themes of dread, paranoia, steamy sex, double-crossing women, and menacing cityscapes have held a fascination. The features that make Burt Lancaster, Joan Crawford, Robert Mitchum, and Humphrey Bogart into noir heroes and heroines are carefully detailed here, as well as those camera angles, lighting effects, and story lines that characterize Fritz Lang, Samuel Fuller, and Orson Welles as noir directors.For the current rediscovery of film noir, this comprehensive history with its list of credits to 112 outstanding films and its many illustrations will be a valuable reference and a source of inspiration for further research.

Foster Hirsch's Dark Side of the Screen is by far the most thorough and entertaining study of the themes, visual motifs, character types, actors, directors, and films in this genre ever published. From Billy Wilder, Douglas Sirk, Robert Aldrich, and Howard Hawkes to Martin Scorsese, Roman Polanski, and Paul Schrader, the noir themes of dread, paranoia, steamy sex, double-crossing women, and menacing cityscapes have held a fascination. The features that make Burt Lancaster, Joan Crawford, Robert Mitchum, and Humphrey Bogart into noir heroes and heroines are carefully detailed here, as well as those camera angles, lighting effects, and story lines that characterize Fritz Lang, Samuel Fuller, and Orson Welles as noir directors.For the current rediscovery of film noir, this comprehensive history with its list of credits to 112 outstanding films and its many illustrations will be a valuable reference and a source of inspiration for further research.

Hollywood's representation of blacks has been consistently misleading, promoting an artificially constructed mythology in place of historical fact. But how, James Snead asks, did black skin on screen develop into a complex code for various types of white supremacist discourse? In these essays, completed shortly before his death in 1989, James Snead offers a thoughtful inquiry into the intricate modes of racial coding in Hollywood cinema from 1915 to 1985. Snead presents three major methods through which the racist ideology within film functions: mythification, in which black images are correlated in a larger sceme of semiotic valuation where the dominant I needs the marginal other in order to function effectively; marking, in which the color black is repeatedly over-determined and redundantly marked, as if to force the viewer to register the image's difference from white; and omission--the repetition of black absence from positions of autonomy and importance. White Screens/Black Images offers an array of film texts, drawn from both classical Hollywood cinema and black independent film culture. Individual chapters analyze Birth of a Nation , King Kong , Shirley Temple in The Littlest Rebel and The Little Colonel , Mae West in I'm No Angel , Marlene Dietrich in Blonde Venus , Bette Davis in Jezebel , the racism of Disney's Song of the South , and Taxi Driver . Making skillful use of developments in both structuralist and post-structuralist film theory, Snead's work speaks not only to the centrality of race in Hollywood films, but to its centrality in the formation of modern American culture.

A New York Times bestseller! A revelatory look at how our environment unconsciously yet dramatically shapes the judgments and decisions we make every day Most of us go through life believing that we are in control of the choices we make—that we think and behave almost independently from the world around us. But as Drunk Tank Pink illustrates, the truth is our environment shapes our thoughts and actions in myriad ways without our permission or even our knowledge. Armed with surprising data and endlessly fascinating examples, Adam Alter addresses the subtle but substantial ways in which outside forces influence us—such as color’s influence on mood, our bias in favor of names with which we identify, and how sunny days can induce optimism as well as aggression. Drunk Tank Pink proves that the truth behind our feelings and actions goes much deeper than the choices we take for granted every day.

Film noir is about style as much as it is about crime, with poster art that features a bold look at iconography all its own - a sizzling marriage of sex and violence. This book presents striking artwork - including posters, lobby cards and other promotional material from the golden age of noir.

For those of us increasingly reliant on email networks in our everyday social interactions, spam can be a pain; it can annoy; it can deceive; it can overload. Yet spam can also entertain and perplex us. This book features theorists writing on spam, porn, censorship, and viruses.

Publisher Description

Acclaimed, New York Times best-selling author Tom Angleberger delivers a captivating retelling of Star Wars: Return of the Jedi like you've never experienced before, infusing the iconic, classic tale of good versus evil with a unique perspective and narrative style that will speak directly to today's young readers while enhancing the Star Wars experience for core fans of the saga.

In The Dark Side of the Soul, the author explains and illustrates the 'Seven Deadly Sins' with contemporary examples. 'Sin' is an old-fashioned word for some startlingly contemporary problems. Far from being about trivial naughtiness or seedy self-indulgence, it's about the financial scandals that have rocked our world, and most of the ills that beset us today. In clear and accessible language, Cherry shows that the traditional Christian concept of sin is a vital tool in understanding what is wrong with human beings. Far from leading people into a guilt-trap, 'sin' is a healthy and truthful word that can help to set us free. Human beings are neither intrinsically evil nor congenitally inclined to virtue, but many of the problems and predicaments that trouble us today can be better understood, and more effectively resolved, if their deeper roots are taken into account. In this fresh interpretation, the author shows that, for example, our economic problems, and our fixation on financial criteria in decision-making, can be understood through the twin lenses of avarice and lust. Our obsessive busyness is a manifestation of sloth; and our desire to control, and our perfectionism, are outworkings of spiritual pride. Crucially, although sin is an important and necessary word for people to understand and come to terms with, it is never, in the Christian worldview, the last word.

This series of articles portrays the state of the art on family violence and abuse research, crystallizes the key interdisciplinary issues confronting family violence and abuse researchers, and suggests a research agenda for the coming years. Although the chapters cover a broad spectrum of issues and controversies in the areas of wife abuse, child abuse, the sexual abuse of children, and marital rape, a number of common themes and issues emerge. First, many chapters share the perspective that violence and abuse emerge from the nature of social arrangements. Second, even though many different forms of family violence and abuse are discussed, several chapters explore their commonalities and important etiological differences. A number of articles examine the common effects of victimization across various forms of family violence and abuse. A third common theme of the papers is an expansion of research efforts to groups other than victims of family violence and abuse, as there are chapters that examine the individual and social characteristics of male perpetrators of both wife abuse and child abuse as well as chapters that focus on the attitudes and behaviors of professional groups concerned with the treatment of victims of family violence and abuse. The volume shows great methodological diversity and attention to theoretical detail; the research presented reveals the possibility of a more comprehensive social science approach to the study of family violence and abuse. In work related to theory building, one chapter explains a number of findings in the child abuse and neglect literature using propositions derived from evolutionary biology; another paper distills propositions from several theoretical traditions. In conjunction with these efforts, several chapters report research designed to test competing propositions. Chapter references and research data are provided.