This book is the first comprehensive analysis of the contemporary representation of the author on screen. It does this through two main approaches: by looking at how biographies of well-known authors in Western culture have been adapted onto the film and television screen; and by examining the wider preoccupation with the idea of what the ‘author persona’ means in broader economic, cultural, industrial, and ideological terms. Drawing from current debates about the uses of the heritage industry and conventions of the Hollywood biopic and celebrity culture, this book re-frames the analysis of the author on screen in contemporary culture and theorises it under its own unique genre: the ‘literary biopic’. With case studies including adaptations of the biographies and cultural personas of William Shakespeare, Jane Austen, Oscar Wilde, Sylvia Plath, Virginia Woolf, and Allen Ginsberg—to name a few–this book examines how and why the author continues to be a prominent screen and cultural preoccupation.
Environmentalism and ecology are areas of rapid growth in academia and society at large. Screening Nature is the first comprehensive work that groups together the wide range of concerns in the field of cinema and the environment, and what could be termed “posthuman cinema.” It comprises key readings that highlight the centrality of nature and nonhuman animals to the cinematic medium, and to the language and institution of film. The book offers a fresh and timely intervention into contemporary film theory through a focus on the nonhuman environment as principal register in many filmic texts. Screening Nature offers an extensive resource for teachers, undergraduate students, and more advanced scholars on the intersections between the natural world and the worlds of film. It emphasizes the cross-cultural and geographically diverse relevance of the topic of cinema ecology.
Screening programmes involve the systematic offer of testing for populations or groups of apparently healthy people to identify individuals who may be at future risk of a particular medical condition or disease, with the aim of offering intervention to reduce their risk. For many years, screening was practised without debate, and without evidence, but in the 1960s serious challenges were raised about many of the screening procedures then being practised. Benefits and harms of screening must be measured in high quality trials, and the benefits of screening must be weighed alongside the negative side-effects. Concerns were raised about potential and actual harm arising when people without a health problem received dangerous and unnecessary investigations and treatments as a result of routine screening tests. Controversy raged, and it took some 50 years to achieve widespread recognition that evidence-based and quality assured programme delivery was essential, coupled with provision of balanced informed to enable informed choice for potential participants. Commercially motivated provision of poor quality and non-evidence based screening tests is increasing and screening remains a highly contested topic that has relevance in all health systems including for the general public and media. This book serves as a practical and comprehensive guide to all aspects of screening. Following the international success of the first edition, this second edition brings extensive updates and new case study material. The first section deals with concepts, methods, and evidence, charts the story of screening back to 1861, and covers all aspects of a screening programme and how to research the full consequences. The second section is a practical guide to sound policy-making and to high quality delivery of best value screening. The controversies, paradoxes, uncertainties, and ethical dilemmas of screening are explained, and each chapter is packed with examples, real-life case histories, helpful summary points, and self-test questions. Reference is made to the NHS, a leader in screening, but the primary focus is on universal principles, making the book highly relevant across the globe.
'If you decide to adapt a classic or much-loved book, your working maxim should be, 'How will it work best as a film?' However faithful it is to the original, if it's not interesting onscreen then you've failed.' - William Boyd in Story and Character: Interviews with British Screenwriters Hollywood. Netflix. Amazon. BBC. Producers and audiences are hungrier than ever for stories, and a lot of those stories begin life as a book - but how exactly do you transfer a story from the page to the screen? Do adaptations use the same creative gears as original screenplays? Does a true story give a project more weight than a fictional one? Is it helpful to have the original author's input on the script? And how much pressure is the screenwriter under, knowing they won't be able to please everyone with the finished product? Alistair Owen puts all these questions and many more to some of the top names in screenwriting, including Hossein Amini (Drive), Jeremy Brock (The Last King of Scotland), Moira Buffini (Jane Eyre), Lucinda Coxon (The Danish Girl), Andrew Davies (War & Peace), Christopher Hampton (Atonement), David Hare (The Hours), Olivia Hetreed (Girl with a Pearl Earring), Nick Hornby (An Education), Deborah Moggach (Pride & Prejudice), David Nicholls (Patrick Melrose) and Sarah Phelps (And Then There Were None). Exploring fiction and nonfiction projects, contemporary and classic books, films and TV series, The Art of Screen Adaptation reveals the challenges and pleasures of reimagining stories for cinema and television, and provides a frank and fascinating masterclass with the writers who have done it - and have the awards and acclaim to show for it. ------------------------ Praise for Alistair Owen 'A fascinating, insightful collection' - Independent on Sunday on Story and Character 'Owen's thorough research and penetrating questions are what make Story and Character... the conversation is hilarious as well as informative, and budding screenwriters should pay close attention to extraordinary nuggets' - Guardian on Story and Character
Hector Amaya advances into new territory in Latin American and U.S. cinema studies in this innovative analysis of the differing critical receptions of Cuban film in Cuba and the United States during the Cold War. Synthesizing film reviews, magazine articles, and other primary documents, Screening Cuba compares Cuban and U.S. reactions to four Cuban films: Memories of Underdevelopment, Lucia, One Way or Another, and Portrait of Teresa. In examining cultural production through the lens of the Cold War, Amaya reveals how contrasting interpretations of Cuban and U.S. critics are the result of the political cultures in which they operated. While Cuban critics viewed the films as powerful symbols of the social promises of the Cuban revolution, liberal and leftist American critics found meaning in the films as representations of anti-establishment progressive values and Cold War discourses. By contrasting the hermeneutics of Cuban and U.S. culture, criticism, and citizenship, Amaya argues that critical receptions of political films constitute a kind of civic public behavior.
The Handbook of Police Psychology features contributions from over 30 leading experts on the core matters of police psychology. The collection surveys everything from the beginnings of police psychology and early influences on the profession; to pre-employment screening, assessment, and evaluation; to clinical interventions. Alongside original chapters first published in 2011, this edition features new content on deadly force encounters, officer resilience training, and police leadership enhancement. Influential figures in the field of police psychology are discussed, including America’s first full-time police psychologist, who served in the Los Angeles Police Department, and the first full-time police officer to earn a doctorate in psychology while still in uniform, who served with the New York Police Department. The Handbook of Police Psychology is an invaluable resource for police legal advisors, policy writers, and police psychologists, as well as for graduates studying police or forensic psychology.
Vols. 39-214 (1874/75-1921/22) have a section 2 containing "Other selected papers"; issued separately, 1923-35, as the institution's Selected engineering papers.
