Ten years ago, a technological revolution swept through cinemas around the world, as analogue projectors were replaced with digital equipment. It was not just the plastic medium of film that was removed from projection boxes during this transformation; most cinemas took this opportunity to also evict the human projectionists who were hitherto in charge of screenings. Projectionists had been hidden from the sight of audiences for most of the history of photographic moving image projection, and their redundancies went largely unnoticed and unremarked upon. This book focuses attention on what has been happening behind film spectators' heads for the past 130 years, and attempts to write the history of cinema in Britain from the perspective of its habitually overlooked and undervalued projectionists, beginning in the silent era and continuing to the present day. Drawing upon extensive archival research and lengthy interviews with former projectionists, it documents the key facets and challenges of their work, and how these evolved in response to previous waves of significant technological change. It evaluates how projectionists helped to design and maintain key aesthetic characteristics of the 20th century big screen experience. It shows how the institution of cinema in Britain has been historically underpinned by the harsh exploitation of projectionists by many employers, detailing inadequate wage levels and poor working conditions that formerly provoked government investigation, and explaining why these problems were never successfully ameliorated by trade unions. It also charts in depth the recent fateful transition to digital projection, delineating how and why projectionists were so swiftly and ruthlessly consigned to the past, and assessing whether this form of entertainment should be considered diminished by their super session.

With the end of apartheid, South African cinema is at a turning point in its history. This collection offers an exploration of a film industry that has excluded its country's black majority, in both representation and production - and which now must overcome collusion between racist ideology and film form. Until recently, filmmakers could work only within a culture that reluctantly took black South Africans into account. Therefore, to explore what South African cinema has been and could become, the authors do not limit their discussion to film production but approach cinema as a manifestation of cultural history. How has the purpose of cinema been viewed at different times in South Africa, by different governments and social groups? What is the relation between film and a sense of nationhood in South Africa? Such questions lead to a consideration not only of films made by South Africans in South Africa but also of an unfolding film culture within a series of stages that have yet to give rise to a national cinema

Turn to Film: Film in the Business School offers creative and powerful uses of film in the business school classroom and surveys the pedagogical and performative value of watching films with students. This volume examines not only how film offers opportunities for learning and investigation, but also how they can be sources of ideological poison, self-delusion and mis-representation. Throughout the text, renowned contributors embrace film’s power to embark on new adventures of thought by inventing images and signs, and by bringing novel concepts and fresh perspectives to the classroom. If film often reveals organizational dysfunctionality and absurdity, it also teaches us to understand the other, to see difference, and to accept experimentation. A wide spectra of films are examined for their pedagogical value in terms of what can be learned, explored and discussed by teaching with film and how film can be used as a tool of research and investigation. The book sees film in the classroom as an educational challenge wherein rich learning and personal development are encouraged.

Stereoscopic cinema began in the early 19th century and exploded in the 1950s in Hollywood. Its status as an enduring genre was confirmed in 2009 by the success of 3-D movie 'Avatar'.

“John Hildebrand sets out in a canoe . . . to explore the great riverway of northwestern Canada and Alaska. . . . The geography is closely rendered and the characters especially sharply drawn. The country is filled with mad dropouts at river fish camps, good-hearted girls in the towns, sullen natives in tumbledown villages, cranky old-timers, terrible drunks and worse moralizers who live off the wild landscape and its abundant resources. . . . This is a fine work, and Hildebrand is a fine writer.”—Charles E. Little, Wilderness

Based on his acclaimed "2- Day Film School", Dov S-S Simens serves up a flawless and detailed blueprint for creating successful independent films. With his signature in-your-face, no-holds-barred advice, the Godfather of Independent Film teaches readers everything they need to know to create full-length feature films. From screenwriting ("There are two types of scripts: It's great or it sucks!") to distribution ("Who are the whores of Hollywood?"), Simens provides encyclopedic, precise, and creative instruction for making a vision a reality. By the end of the book, readers will know exactly what to do to make their films.

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