This book reveals the hitherto critically disregarded ludic elements in popular American comedy films, building on and expanding the theories developed by Johan Huizinga in his classic study Homo Ludens (1938) and Roger Caillois in Les jeux et les hommes (1958). To address the lack of attention paid to the play principle in film comedy studies, this book focuses exclusively on the elements typical of play that can be found in movies. It introduces two new categories describing play: óneiros and pragma, which allow analysis of how play in comedies is influenced by the relations between the player and non-players. The text is supplemented by the use of the author’s drawings, which, because of their analytical and selective nature, are used as a tool for visual study. The play principle has a long tradition in American humor and the films examined here were chosen for their popularity and wide appeal, often acting as vehicles for Hollywood stars (e.g. Chevy Chase, Dan Aykroyd, Bill Murray, Steve Martin, Eddie Murphy, Goldie Hawn, Mike Myers, Jackie Chan or Chris Tucker). The actors’ status allowed the filmmakers to construct situations in which the protagonists distanced themselves from the fictional situation. It is argued that the playful detachment from reality, typifying many of the fictional characters portrayed by actors with star status, is characteristic of the play principle in film. Another major consideration is the hotly debated notion of the accomplishment of goals in playful activities, and the book strongly supports the position that in narratives, play can (but does not have to) yield important results. The introduction of the categories of óneiros and pragma in play serves to highlight the complex relation between playfulness and practicality in the films discussed. Building on a comprehensive analysis of the ludic elements in selected popular American comedies, the book makes an important contribution to film studies, providing a unique perspective through its focus on the concept of homo ludens as a comic hero.

More than a history of Western movies, The American West on Film intertwines film history, the history of the American West, and American social history into one unique volume. The American West on Film chronicles 12 Hollywood motion pictures that are set in the post–Civil War American West, including The Ox-Bow Incident, Red River, High Noon, The Searchers, The Magnificent Seven, Little Big Man, and Tombstone. Each film overview summarizes the movie's plot, details how the film came to be made, the critical and box-office reactions upon its release, and the history of the time period or actual event. This is followed by a comparison and contrast of the filmmakers' version of history with the facts, as well as an analysis of the film's significance, then and now. Relying on contemporary accounts and historical analysis as well as perspectives from filmmakers, historians, and critics, the author describes what it took to get each movie made and how close to the historical truth the movie actually got. Readers will come away with a better understanding of how movies often reflect the time in which they were made, and how Westerns can offer provocative social commentary hidden beneath old-fashioned "shoot-em-ups."

This collection of new essays covers the myriad portrayals of the figure of the pirate in historical records, literary narratives, films, television series, opera, anime and games. Contributors explore the nuances of both real and fictional pirates, giving attention to renowned works such as Robert Louis Stevenson's Treasure Island, J.M. Barrie's Peter Pan, the Pirates of the Caribbean saga, and the anime One Piece, as well as less well known works such as pirate romances, William Clarke Russell's The Frozen Pirate, Lionel Lindsay's artworks, Steven Speilberg's The Adventures of Tintin, and Pastafarian texts.

This groundbreaking book uses observations made by Marshall McLuhan to analyze the aesthetics of science fiction films, treating them as visual metaphors or probes into the new reality dominated by electronic media: - it considers the relations between the senses and sensuality in Blade Runner, the visually-tactile character of the film, and the status of replicants as humanity’s new clothes; - it analyzes the mixture of Eastern and Western aesthetics in Star Wars, analyzing Darth Vader as a combination of the literate and the tribal mindset; - it discusses the failure of visual society presented in the Terminator and Alien franchises, the rekindling of horror vacui, tribalism, and the desire to obliterate the past as a result of the simultaneity of the acoustic space; - finally, the book discusses the Matrix trilogy and Avatar as being deeply related in terms of the growing importance of tactility, easternization, tribalization, as well as connectivity and the implosion of human civilization.

This collected book analyzes the phenomenon of crisis manifested across various historical periods. It offers unique, multifaceted, and interdisciplinary perspectives on the issues of crises and finds numerous applications in the fields of literature, linguistics, advertising, photography, and foreign language teaching. The collection is divided into two parts. The chapters in its first part analyze literature and language: from medieval England to cultural changes in America occurring under the influence of the transformation caused by the propagation of print culture. The incisive commentaries consider the works of culture that span not only literature but also film. They reveal how much we can learn by considering how past generations perceived reality in times of crisis. The second part of the book contains chapters, which examine texts related to contemporary crises expressed in the visual media of advertising and photography, but also in foreign language teaching. As the authors show, both ads and non-commercial, socially engaged photographs can influence the viewer in a swift and impactful manner by conveying messages of great social importance. The authors convincingly that argue both photographs and ads can be used for social benefit by visualizing even the unpleasant or shocking sides of reality. Finally, the notion of crisis experienced by students of English as a foreign language is analyzed and supplemented by research which may prove useful for researchers and practitioners alike.

The main theme of this book is the impacts of speed and time optimization on reality, or more precisely on our modern society. But first, it sets the background by exploring the physics behind the concepts of speed and time, how they came about, how we became aware of them, and how did the new world of speed emerge, and why does it seem to be inescapable? It explores the speed of light and the speed of sound by linking them to our environment. It introduces the notion of Arrow of time or entropy, which grows from the past to the present, is expected to keep growing in the future, and hypothesizes that this is perhaps why our craving for speed and time optimization is here to stay with no end in sight. An important point discussed is that because of memories and experiences, people may choose to live either in the past, present, or future, which leads to the notions of presentism and eternalism. The book argues that while for presentists only the present is real, for eternalists both the past, present, and future are equally real. The book makes the case about speed and time optimization as a legacy of modernity by laying out the differences between modernism, modernization, and modernity itself. It shows how modernity is all about the now or the present, rather than the past and, how, as such, it’s all about the new. So then, the changes that are now happening in our modern world can be traced back to a segment of history that dates back to the beginning of modernity, that is, which began with the Protestant Reformation and, is now rapidly approaching closure in the world of today’s extreme finance. It argues about the technological implications of speed and time in the 21st century. It shows how technology has become an integral part of human existence and that it is inconceivable one can even think of escaping it. This Part III of the series shows the link between high-speed trading and faster connectivity and faster computers. It shows how, thanks to the Internet, information became freely accessible and is spreading faster and faster. It shows how supercomputers not only allow people to address the biggest and most complex problems, they also allow people to solve problems faster, even those that could fit on servers or clusters of PCs. This rapid time to solution is critical in some aspects of emergency preparedness and national defense, where the solutions produced are only valuable if they can be acted on in a timely manner. Finally, the social and psychological implications of speed and time in the 21st century are also addressed by considering the upside and the downside of moving fast, meaning leading a fast-paced life. The argument presented in the book is based on the analysis and the importance of stress in our daily lives and also explains the notion of chronobiology. Our biological clocks drive our circadian rhythms. An interesting point is that blind people may not perceive time the same way as the non-blind. Furthermore, the book shows how we perceive time differently as we age compared to when we were young. It also makes the case for the perception of time in dreams and in real life. Speed and time optimization may be deceiving, according to this Part III of the series. This can be proven by questions such as, (1) Is going over the speed limit really worth it? and (2) Is the saying “Slow down to go faster” a paradox?

Provides almost 2700 articles on twentieth-century authors from all over the world who wrote in English or whose works are available in English translation.

These photographs, essays, drawings, and original texts document the rich agit-art legacy of the Situationist International, a group of European artists and writers who emerged from such avant-garde movements as COBRA, Lettrisme, and the Imaginary Bauhaus and from the breakup of surrealism to launch a strategy of art as cultural critique.