In the first book to study the short film using the yin yang complementarity, Raskin proposes a new paradigm—describing major forms of yin and yang, redefined as ungendered, freed of patriarchal bias. Yin evokes such properties as holding back and an openness to interpretation while yang promotes structure, causality, and control. Ten exemplary short films show how the model illuminates their storytelling. Features richly illustrated, shot-by-shot breakdowns—many in color—and links. "Richard Raskin changed my way of thinking about short films twenty years ago with his marvelous book The Art of the Short Fiction Film. And now he manages to do it again! The Yin and Yang of Short Film Storytelling offers a totally new approach to analyzing and making short films. This beautifully written book is fascinating to read and gives valuable tools as well as enormous inspiration to all short film lovers, whether film makers or film researchers. Don't miss this big little pearl!" — Saara Cantell, Film Director, Script Writer, Doctor of Arts (Finland) "Short films are the laboratory of cinema. And no one is more comfortable in this laboratory than Richard Raskin. His book gives an entirely new and fresh approach to creating short films. Think different! Read it, study these ten case studies, and enter an entirely new and original way of shaping shorts armed with the advice of the master of short filmmaking." — Elliot Grove, Founder Raindance Film Festival and British Independent Film Awards "Richard Raskin is a world-renowned scholar and filmmaker whose work has been foundational in bringing attention and respect to short films. His brilliant new book promises to be another touchstone that inspires shorts enthusiasts, scholars, and filmmakers. With its beautifully curated selection of ten "case study" films, it provides an original and fascinating framework that conveys the richness and depth that one can bring to the appreciation - and making - of short form media." — Cynthia Felando, Editor of Short Film Studies and Senior Lecturer, University of California, Santa Barbara "Raskin's book is a must-read for any film-lover or scholar of film and literature. In this wonderfully lucid and creative work, the central concepts and thesis are carefully spelled out, brilliantly applied, and made truly illuminating. Raskin has also stripped the yin-yang distinction of its sexist pitfalls in a way that enhances its utility and appeal. The book is destined to be a classic!" — Andrew Effrat, former Dean of Education, University of Massachusetts, Amherst "This is a fascinating read. Raskin has taken his encyclopedic knowledge of short films and created a tool, an analytical system, to help illuminate what makes a short film successful. I love that it's a tool that can be applied to almost any piece of art for that matter." — David Greenspan, Palme d'Or for Best Short Film at Cannes in 2001; directed or edited numerous episodes of Grey's Anatomy, Station 19, and other TV series

Frames the contemporary post-cinematic situation of audiovisual media by focusing on the category of compactness in order to analyze a number of less explored aspects of contemporary mediascape.

New Authors and collections. Following the great success of 2015's Gothic Fantasy, deluxe edition short story compilations, this latest in the series is packed with tales set in bleak and paradisiacal worlds of boundless imagination from classic authors and exciting budding contemporary writers. New and notable writers featured are: Kim Antieau, Steve Carr, Carolyn Charron, Megan Dorei, Sarah Lyn Eaton, Michelle Kaseler, Claude Lalumière, Gerri Leen, Konstantine Paradias, Jeff Parsons, Kelsey Shannahan, Nidhi Singh, Jeremy Szal, J.M. Templet, Russ Thorne, M. Darusha Wehm, and Andrew J. Wilson. These appear alongside classic stories by authors such as Edward Bellamy, Samuel Butler, Robert W. Chambers, Jack London and Mary Shelley.

Monsters have always rampant border crossers, from Dracula’s journey from Romania to Whitby, to the rampaging monsters of Godzilla movies across global cities. This volume studies how their transnationality reflects an era of global crisis. Monstrosity has long been explored in a number of ways that connect gender, sexuality, class, race, nationality and other forms of otherness with depictions of monsters or monstrosity. This book, however, explores cultural flow as it relates to the construction of a transnational genre, by both producers and audiences. It also examines the ramifications of representations of monstrosity in socio-political terms as they relate to a tumultuous era of global crises. This era has of course been amplified and altered by the Covid pandemic, which frames much of the content of this collection. This ongoing crisis imbues the discourses of monstrosity, global catastrophe and societal and human vulnerability with its significant expression in artistic terms.

""Novel & Short Story Writer's Market" is a must for every writer. Created exclusively for fiction writers, it provides every fiction market, plus agents, articles, contests and organizations."--Barbara Kuroff, editor.

This book presents Chinese short-short stories in English and Chinese, integrating language learning with cultural studies for intermediate to advanced learners of Mandarin Chinese and students of contemporary Chinese literature. Each chapter begins with a critical introduction, followed by two or more stories in parallel Chinese and English texts; each story is followed by a vocabulary list, discussion questions, and a biography of the author. The chapters are organized around central concepts in Chinese culture such as li (ritual), ren (benevolence), mianzi (face/prestige), being filial, and the dynamics of yin and yang, as well as the themes of governance, identity, love, marriage, and change. The stories selected are short-shorts by important contemporary writers ranging from the most literary to everyday voices. Specifically designed for use in upper-level Chinese language courses, Contemporary Chinese Short-Short Stories: A Parallel Text offers students a window onto China today and pathways to its traditions and past as they gain language competence and critical cultural skills.

Listing markets, agents, publishers, and more, this comprehensive guide is an author's best reference. "One of the best guides to fiction writer's markets available".--"American Reference Book Annual".

This dissertation is an attempt to define a Chinese "modernism," exemplified by the narrative practices of four major writers in Taiwan today, from the perspective of comparative literature and recent development of literary theory. I propose that modernity of Taiwanese fiction is not so much a result of Western influences as an evolution of Chinese narrative tradition itself. To argue my point I delineate a poetics of Chinese narrative, from which I devise a method of reading and a criterion of evaluation for contemporary Taiwanese fiction in defining its achievement and historical significance. This study of Taiwanese fiction also aims at providing a better understanding of fundamental aesthetic assumptions of Western "modernism" in the context of its own literary tradition. Chapter One, "Introduction," investigates the theoretical foundation and its line of development in Western and Chinese poetics respectively. It first examines the Platonic view of mimesis and Aristotelian aesthetic view of fictionality and their influence on the critical tradition, the continuity of the ancient battle between philosophy and poetry as seen in the structuralist and deconstructionist theories, then the relationship between subjective fictionality and ironic objectivity in Chinese poetics, the continuity of the dilemma in the Chinese novelists in their dual allegiance to the ideal and the real. A final section gives a critical overview of the literary scene in Taiwan. The following four chapters provide examples of the internal tension between fictionality and ironic awareness in the Taiwanese modernist texts. I suggest that instead of stretching the metaphorical potential of fiction to a highly intellectualized abstraction or playing down the interpretive claims of fiction by dramatizing its vulnerability like their Western counterpart, the Taiwanese modernists create their texts on the borderline between the high and the low. Self-assertive as well as self-denying, each of them confronts his own intellectual vision with paradox and ambivalence. In Ch'en Ying-chen, this is expressed as a battle between a lyrical vision of ideological values and an instinctive self-clowning, in Ch'i-teng Sheng, as a form of competition between pattern and contingency, in Wang Chen-ho, as a celebration and abuse of the fictionality of fiction, and in Wang Wen-hsing, an intense self-parody. I conclude that the sensitivity to the irrational and contradiction, inherent with a resistance to didacticism, constitutes the best part of the Chinese humanistic tradition, which is continuously enriched with new dimensions by the contemporary Taiwanese writers.

A descriptively annotated, multidisciplinary, cross-referenced and extensively indexed guide to 2,395 dissertations that are concerned either in whole or in part with Hong Kong and with Hong Kong Chinese students and emigres throughout the world.