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Economics is everywhere. It’s in business. It’s in government. It’s in our personal lives. Now, this ground-breaking textbook supplement brings this reality to the classroom. The book uses both contemporary and classic film and literature to illustrate 33 fundamental concepts in introductory economics. Designed for use in introductory economics courses, the clearly organized text brings both sides of the lectern closer together through real-life illustration of economic concepts in such favorites as Jaws, Legally Blonde, Casablanca, The Great Gatsby, The Scarlet Letter, and The Da Vinci Code. Each economic topic is described and terms are defined. A plot synopsis of a film or book sets the stage for each discussion. Using a detailed scene description, the authors then show how the scene illustrates the concept under study. Classroom discussion and assignments are facilitated through a series of questions that probe deeper.

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This text looks at film from part to whole–from the shot and the cut to the cultural, political, and economic contexts in which films are made. “Teaching Film is about getting control of the image and handing that control over to students,” argues author Robert Kolker, and that’s just what he does in his teaching and writing about film, including in this outstanding textbook and DVD-ROM package.

The new edition includes more detailed discussion of the shot, composition, editing, and genre; a thorough discussion of the technical and aesthetic changes resulting from film’s digital transformation; and a revised discussion of the cultural context of film. The companion interactive DVD-ROM includes segments from classic and contemporary films, with explanatory text, stills, and animations illustrating key film elements and strategies.

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The immediacy and perceived truth of the visual image, as well as film and television’s ability to propel viewers back into the past, place the genre of the historical film in a special category. War films–including antiwar films–have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Front and Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage of the Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the “reality” of that much disputed conflict. But to what degree does history written “with lightning,” as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past?
Exploring the relationship between moving images and the society and culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of war in the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love with a beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japanese viewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler’s regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the major climactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World War II, emphasizing the degree to which the documentary’s engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles’s fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberated Holocaust survivors at Dachau in World War II.
In today’s visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance through repetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into “reality.”

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In Metaphor and Film, Trevor Whittock demonstrates that feature films are permeated by metaphors that were consciously introduced by directors. An examination of cinematic metaphor forces us to reconsider the nature of metaphor itself, and the ways by which such visual imagery can be recognised and understood, as well as interpreted. Metaphor and Film identifies the principal forms of cinematic metaphor, and also provides an analysis of the mental operations that one must bring to it. Recent developments in cognitive psychology, especially those relating to the nature and formation of categories, are called upon to explain these processes. Metaphor and Film ranges widely over film theory as it does over philosophical, literary, linguistic, and psychological accounts of metaphor. Particularly useful to those studying film, literature, and aesthetics, this study is also a provocative contribution to an important debate in which film theorists and philosophers are currently engaged.

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Here is the only comprehensive reference to explore the many adaptations of the novel into film. Written by two acclaimed film scholars and authors, The Encyclopedia of Novels into Film examines the process and pitfalls of adaptation, providing readers with insights about how and why books are transformed for the silver screen.

Over 300 entries cover both American and foreign films, from classic works like Birth of a Nation and Gone With the Wind to contemporary hits, such as Sense and Sensibility and The English Patient. Spanning comedy, drama, film noir, science fiction, westerns, action, suspense, and children’s literature, this encyclopedia also includes a wealth of photographs and portraits of selected authors.

Adaptations covered include: The Age of Innocence Babette’s Feast Crime and Punishment Dracula From Here to Eternity Great Expectations Jaws Little Women Maltese Falcon M*A*S*H Portrait of a Lady Schindler’s List Shaft The Time Machine Trainspotting Ulysses Valley of the Dolls Wuthering Heights Zorba the GreekAmazon.com Review
One of the great pleasures of moviegoing is seeing a beloved novel adapted for the screen; one of the big delights of novel reading is encountering a book that has been made into a favorite film. The Encyclopedia of Novels into Films is an expansive volume that will guide you through the rich history of film adaptation. Each entry falls into two parts: the first describes the original novel; the second assesses the film it inspired. Particularly interesting are records for books like Dracula, Les Misérables, Great Expectations, The Body Snatchers, and The Great Gatsby, which were each made into several radically different movies. Some entries may surprise you. Did you know that The Silence of the Lambs, Shaft, and Rear Window were bestselling books before they became famous films? Trivia like this, along with larger issues about how to transform literature into visual art are covered in this wonderful and informative guide. –Raphael Shargel

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“It wasn’t as good as the book;” this is the response to many a film adaptation, and even the starting point of many film reviews. This book offers the first systematic theoretical account of the process by which the great (and not so great) works of literature are transformed into the good, bad (sometimes ugly), but always distinctive medium of cinema. Drawing on recent literary and film theory, Mcfarlane provides careful analysis of the theory and practice of metamorphosis. The Scarlet Letter, Random Harvest, Great Expectations, Daisy Miller, and Cape Fear provide case studies for a range of fictional and cinematic practices.

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Short films have come into their own, not least in part due to the incredible new ways to distribute them, including the Web, cell phones, new festivals devoted to shorts–even television and theatres. This is the ultimate guide for anyone who’s made a short film and wonders what to do next. Whether your short film is meant to be a calling card, a segue to a feature film, or you just want to recoup some of the costs, this book describes the potential paths for distribution. Written by the short film programmer of the Tribeca Film Festival and featuring contributions from top film festival directors, as well as studio, marketing, and technology executives, this book shows you what’s important to the decision makers and gatekeepers. This is the definitive handbook filled with insider information available nowhere else.

* A guide to getting your short film the exposure it deserves
* Filled with interviews and insider information from the gatekeepers at Focus Features, AtomFilms, Shorts International, Sundance, and more
* Includes exercises and projects to help you develop a strategy and find the right investors

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