This book explores the factors contributing to the under-representation of African American female directors in mainstream cinema leadership. It also unmasks the potential strategies African American female film directors might pursue to reduce this inequity.

This book traces the developments in African films that were made from the 1990s to the present within the evolving frame of what came to be called 'World Cinema' and, eventually, 'Global Cinema.'.

Anglo-American Stage and Screen Drama analyses and discusses the contemporary role of stage and screen drama as a critical forum for progressive thinking in an increasingly polarised geopolitical world. The book addresses the cultural politics of socially engaged 21st century stage plays and films, and makes the case for drama as a sociopolitical forum, in which the complex and contentious issues that confront society can be explored and debated. It conceives of Anglophone political drama as a significant intervention in today’s culture wars, representing the latter as a convenient distraction from the ongoing depredations of neoliberalism. In the main part of the book selected case-study plays and films from each of the first two decades illustrate drama’s capacity to influence critical debate on social justice issues. All of the case-study texts under discussion express a powerful aesthetics of resistance to right-wing ideology, and promote inclusive and enlightened values. This broader orientation underlines drama’s role as a channel for critical agency in today’s putative post-socialist, post-democratic climate. Mike Ingham is Adjunct Professor of English Studies in the English Department at The Chinese University of Hong Kong and a dedicated tertiary teacher and former teacher-trainer. His research interests include stage and screen drama, Shakespeare studies, Hong Kong literature in English, and drama in education. Mike is also a founder member of Theatre Action, a Hong Kong-based drama group specialising in action research on literary dramatic texts. Previous monograph publications include Staging Fictions - The Prose Fiction Stage Adaptation as Social Allegory (2004), Hong Kong - A Cultural and Literary History (2007), Stage-play and Screen-play: The Intermediality of Theatre and Cinema (2017) and The Intertextuality and Intermediality of theAnglophone Popular Song (2022). He has also produced journal articles and book chapters on adaptation for stage and screen, early modern drama, documentary and feature film in Asian and Western contexts, and drama pedagogy.

This book examines labour in the age of US hegemony through the art that has grappled with it; and, vice versa, developments in American culture as they have been shaped by work’s transformations over the last century. Describing the complex relations between cultural forms and the work practices, Art, Labour and American Life explores everything from Fordism to feminization, from white-collar ascendency to zero hours precarity, as these things have manifested in painting, performance art, poetry, fiction, philosophy and music. Labour, all but invisible in cultural histories of the period, despite the fact most Americans have spent most of their lives doing it, here receives an urgent re-emphasis, as we witness work’s radical redefinition across the world. Ben Hickman is Senior Lecturer in Modern Poetry and Director of the Centre for Modern Poetry at the University of Kent, UK, having studied at University College, Londonand the University of Kent. Recent publications include John Ashbery and English Poetry (Edinburgh University Press, 2012), and Poetry and Real Politics: Crisis and the US Avant-Garde (2016), also with EUP.

Delving into Bob Dylan's distinctive cinematic journey, this book explores his experimental, boundary-pushing artistry from Dont Look Back to Masked and Anonymous. It sheds light on his lesser-known foray into filmmaking, bridging the realms of music and cinema.

Bosnian Literature on Stage and Screen aims to reconcile theoretical approaches with theatrical and cinematic practices by examining two adaptations based on works by the Bosnian author Meša Selimović. The book is informed by scholarship in film and theatre adaptation theories, and is grounded in a comparative approach that focuses on the interplay of sign systems and codes unique to screen and stage. The book looks closely at two adaptations: a screen adaptation of the novel The Fortress and a stage adaptation of the novel The Island. Sanja Garić-Komnenić holds a PhD in film and theater semiotics and teaches film and media, rhetoric, and academic writing at British Columbia Institute of Technology in Vancouver, Canada. A summary of her PhD thesis, “A Comparative Analysis of the Functions of Film and Theatre Language Units,” was published in The American Journal of Semiotics (Ed. Richard L. Lanigan: 2001. Vol. 17, No.3.). Sanja has translated two books into English, Footprints: Poetry and Threads of Poetical Impression (2008) and the novel Chernovs’ Toil and Peace (2010). Sanja has contributed to The Pacific Rim Review of Books and is a member of the NECS –The European Network for Cinema and Media Studies.

"Celebrating its eightieth anniversary this year, Casablanca remains one of the world's most endur-ingly favorite movies. It won three Academy Awards for Best Picture, Best Director, and Best Adapted Screenplay. It is still commonly quoted: "We'll always have Paris" and "Here's looking at you, kid" And who can forget, "You must remember this...a kiss is just a kiss." Yet no one expected much to come of this little film, certainly not its blockbuster stars or even the studio producing it. So how did this hastily cranked-out 1940s film, despite its many limitations, become one of the greatest films ever made? How is it that year after year, decade after decade, it continues to appear in the lists of the greatest movies ever produced? And why do audiences still weep when Rick and Ilsa part? The answer, according to Casablanca's Conscience, is to paraphrase Rick, "It's true." Much has already been written about the film and the career-defining performances of Bogart and Bergman. Casablanca is an epic tale of love, betrayal, and sacrifice set against the backdrop of World War II. Yet decades later, it continues to capture the imagination of filmgoers. In Casablanca's Conscience, author Robert Weldon Whalen explains why it still resonates so deeply. Applying a new lens to an old classic, Whalen focuses on the film's timeless themes--Exile, Purgatory, Irony, Love, Resistance, and Memory. He then engages the fictional characters--Rick, Ilsa, and the others--against the philosophical and theological discourse of their real contemporaries, Hannah Arendt, Dietrich Bonhoeffer, and Albert Camus. The relationships between fictional and histori-cal persons illuminate both the film's era as well as perennial human concerns. Both the film and the work of the philosophers explore dimensions of the human experience, which, while extreme, are familiar to everyone. It's the themes that resonate with the viewer, that have sustained it as an evergreen classic all these years."-- Provided by publisher.

"The first collection to make the relationship between cinema and secularism thematic, utilizing a number of different methodological approaches to examine their identification and differentiation across film theory, film aesthetics, film history, and throughout global cinema"-- Provided by publisher.

This book provides an interdisciplinary exploration of the cinematic representations of the experiences of African women and girls in situations of political conflict.

This book investigates the therapeutic potential and efficacy of audiovisual languages, deepening the integration of film studies into neuropsychiatry and strategic psychotherapy.