For over five decades, the Newcastle-based Amber Film and Photography Collective has been a critical (if often unheralded) force within British documentary filmmaking, producing a variety of innovative works focused on working-class society. Situating their acclaimed output within wider social, political, and historical contexts, In Fading Light provides an accessible introduction to Amber’s output from both national and transnational perspectives, including experimental, low-budget documentaries in the 1970s; more prominent feature films in the 1980s; studies of post-industrial life in the 1990s; and the distinctive perils and opportunities posed by the digital era.

Winner of the Theatre Library Association’s Richard Wall Memorial Award Special Jury Prize for an exemplary work in the field of recorded performance After the advent of sound, women in the British film industry formed an essential corps of below-the-line workers, laboring in positions from animation artist to negative cutter to costume designer. Melanie Bell maps the work of these women decade-by-decade, examining their far-ranging economic and creative contributions against the backdrop of the discrimination that constrained their careers. Her use of oral histories and trade union records presents a vivid counter-narrative to film history, one that focuses not only on women in a male-dominated business, but on the innumerable types of physical and emotional labor required to make a motion picture. Bell's feminist analysis looks at women's jobs in film at important historical junctures while situating the work in the context of changing expectations around women and gender roles. Illuminating and astute, Movie Workers is a first-of-its-kind examination of the unsung women whose invisible work brought British filmmaking to the screen.

Don't miss Alex Irvine's “Form 8774-D,” a Tor.com Original. It’s just business as usual at the Bureau of Metahuman, Mutant, and Occult Affairs until an employee for the government agency begins to wonder if work is following her home. . . At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

A study of Anglo-American cultural and countercultural exchange from the mid Fifties to the mid-Seventies, Special Relations explores aspects of London modernism, the anti-war movement, student rebellion, black power, the second-wave feminist and gay liberation movements, and transatlantic nostalgia.

The 1970s was an enormously creative period for experimental film. Its innovations and debates have had far-reaching and long-lasting influence, with a resurgence of interest in the decade revealed by new gallery events, film screenings and social networks that recognise its achievements. Professor Laura Mulvey, and writer/director Sue Clayton, bring together journalists and scholars at the cutting edge of research into 1970s radical cinema for this collection. Chapters are at once historically grounded yet fused with the current analysis of today's generation of cine-philes, to rediscover a unique moment for extraordinary film production. Other Cinemas establishes the factors that helped to shape alternative film: world cinema and internationalism, the politics of cultural policy and arts funding, new accessible technologies, avant-garde theories, and the development of a dynamic and interactive relationship between film and its audiences. Exploring and celebrating the work of The Other Cinema, the London Film-makers' Co-op and other cornerstones of today's film culture, as well as the impact of creatives such as William Raban and Stephen Dwoskin - and Mulvey and Clayton themselves - this important book takes account of a wave of socially aware film practice without which today's activist, queer, minority and feminist voices would have struggled to gather such volume.

Folklore and Literature shows how modern folklore supplements an understanding of the early oral tradition and enhances the knowledge of the early literature. Besides documenting how writers incorporated folklore into their works, this book allows us to understand crucial passages whose learned authors took for granted a familiarity with the oral tradition, thus enabling us to restore those passages to their intended meaning. Studying the vicissitudes of oral transmission in great detail, this is the first book exclusively dedicated to the relationship between folklore and literature in a Luso-Brazilian context, taking into account the pan-Hispanic and other traditions as well. Some of the folkloric passages included are: Puputiriru; Celestina; El idolatra de Maria; Remando Vao Remadores; Barca Bela; Flerida; and Don Duarodos.

Many British films never make it to the screen. Obstacles of finance, censorship, distribution or creative breakdown can appear in their way, and they might even fail to get beyond the script stage. This book collects new essays by leading scholars that use archival resources to reconstruct the stories behind a range of films by prominent film-makers. These thwarted productions are all too often excluded from histories of British cinema, but the accounts of their unmaking contained in Sights Unseen provides an illuminating insight into the factors which have served to undermine the stability of the film industry in Britain.

The London FilmMakers Cooperative was founded in 1966 by a group of artists who sought to explore the possibilities of the moving image whilst maintaining autonomy over the production, distribution, and exhibition of their work. Although their films were not overtly political, artists nevertheless expressed their political attitudes by creating nonnarrative films, thereby rejecting conventional narrative structures associated with mainstream, commercial cinema, which they perceived as supporting the dominant ideology in society. A return to narrative in the 1980s coincided with the introduction of British Art Cinema and the art-house films of Derek Jarman, Peter Greenaway, and Sally Potter, all of whom made experimental films in the early days of the London Co-op.

Throughout its history, British television has found a place, if only in its margins, for programmes that consciously worked to expand the boundaries of television aesthetics. Even in the present climate of increased academic interest in television history, its experimental tradition has generally either been approached generically or been lost within the assumption that television is simply a mass medium. Avaible for the first time in paperback, Experimental British television uncovers the history of experimental television, bringing back forgotten programmes in addition to looking at relatively more privileged artists or programme strands from fresh perspectives. The book therefore goes against the grain of dominant television studies, which tends to place the medium within the flow of the ‘everyday’, in order to scrutinise those productions that attempted to make more serious interventions within the medium.

This volume provides a new study on the Co-operative Movement's engagement with film for educational, cultural and publicity purposes. It provides insights into the political and commercial use of cinema in the 20th century and significantly extends our understanding of the achievements of workers' cinema in Britain.