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Книги з теми "SiC thin film"

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Автор: Grafiati

Опубліковано: 6 вересня 2023

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1

United States. National Aeronautics and Space Administration., ed. System for the growth of bulk SiC crystals by modified CVD techniques: Final report. [Washington, DC: National Aeronautics and Space Administration, 1994.

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2

Symposium C on Properties and Applications of SiC, Natural and Synthetic Diamond and Related Materials (1990 Strasbourg, France). SiC, natural and synthetic diamond and related materials: Proceedings of Symposium C on Properties and Applications of SiC, Natural and Synthetic Diamond and Related Materials of the 1990 E-MRS Fall conference, Strasbourg, France, November 27-30, 1990. Amsterdam: North-Holland, 1992.

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3

Reid, Jonathan Paul. Corrosion properties if [sic] neodymium iron boron thin films. Birmingham: University of Birmingham, 2000.

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4

United States. National Aeronautics and Space Administration., ed. Ultra-low-cost room temperature SiC thin films: Final report, NASA research grant no. NAG3-1828 for the period April 8, 1996 to September 30, 1996. [Cleveland, Ohio?]: The Center, 1997.

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5

H, Carter Calvin, and Materials Research Society. Meeting Symposium D., eds. Diamond, SiC and nitride wide bandgap semiconductors: Symposium held April 4-8, 1994, San Francisco, California, U.S. Pittsburgh, PA: Materials Research Society, 1994.

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6

DeMichael, Tom. Modern sci-fi films FAQ: All that's left to know about time travel, alien, robot, and out-of-this-world movies since 1970. Milwaukee, WI: Applause Theatre & Cinema Books, 2014.

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7

United States. National Aeronautics and Space Administration., ed. ULTRA-LOW-COST ROOM TEMPERATURE SIC THIN FILMS FINAL REPORT... NASA/CR-97-207101... APR. 7, 1998. [S.l: s.n., 1999.

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8

National Aeronautics and Space Administration (NASA) Staff. Durability Evaluation of a Thin Film Sensor System with Enhanced Lead Wire Attachments on Sic/Sic Ceramic Matrix Composites. Independently Published, 2018.

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9

Milosevich, Zoran. Perfomance [sic] tests of a three-element thin film detector with an analysis of large scattering angle charge state characteristics of germanium and selenium ions. 1991.

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10

Gippius, A. A., R. Helbig, and J. P. F. Sellschop. SiC, Natural and Synthetic Diamond and Related Materials. Elsevier Science & Technology Books, 1992.

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11

Gippius, A. A., R. Helbig, and J. P. F. Sellschop. SiC, Natural and Synthetic Diamond and Related Materials. Elsevier Science & Technology Books, 1992.

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12

Gippius, A. A., and R. Helbig. Sic, Natural and Synthetic Diamond and Related Materials: Proceedings of Symposium C on Properties of Sic, Natural and Synthetic Diamond and Related (European ... Research Society Symposia Proceedings). North-Holland, 1992.

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13

Ultra-low-cost room temperature SiC thin films: Final report, NASA research grant no. NAG3-1828 for the period April 8, 1996 to September 30, 1996. [Cleveland, Ohio?]: The Center, 1997.

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14

Ultra-low-cost room temperature SiC thin films: Final report, NASA research grant no. NAG3-1828 for the period April 8, 1996 to September 30, 1996. [Cleveland, Ohio?]: The Center, 1997.

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15

Ultra-low-cost room temperature SiC thin films: Final report, NASA research grant no. NAG3-1828 for the period April 8, 1996 to September 30, 1996. [Cleveland, Ohio?]: The Center, 1997.

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16

So-hee, Kim. Interview with Kim Ki-duk. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036699.003.0002.

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This interview was originally published in a promotional booklet, edited by Lee Hae-jin, entitled Kim Ki-duk: From Crocodile to Address Unknown (Seoul: LJ Film, 2001). It is reprinted here with permission of LJ Film America. Although the interview only covers Kim Ki-duk’s first six feature films, many of the issues, themes, and ideas presented here apply to his later films as well. Several Korean-language interviews about Kim’s more recent films are quoted in the main essay to supplement this interview....

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17

Carter, Calvin H., and Gennady Gildenblat. Diamond, Sic and Nitride Wide Bandgap Semiconductors: Symposium Held April 4-8, 1994, San Francisco, California, U.S.A. (Materials Research Society Symposium Proceedings). Materials Research Society, 1994.

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18

ULTRA-LOW-COST ROOM TEMPERATURE SIC THIN FILMS FINAL REPORT... NASA/CR-97-207101... APR. 7, 1998. [S.l: s.n., 1999.

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19

DeMichael, Tom. Modern Sci-Fi Films FAQ: All That's Left to Know about Time-Travel, Alien, Robot, and Out-Of-This-World Movies Since 1970. Leonard Corporation, Hal, 2014.

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20

DeMichael, Tom. Modern Sci-Fi Films FAQ: All That's Left to Know about Time-Travel, Alien, Robot, and Out-Of-This-World Movies Since 1970. Leonard Corporation, Hal, 2014.

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21

Riddle, Nick. The Damned. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325529.001.0001.

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The Damned (1963) is the most intriguing of director Joseph Losey's British “journeyman” films. A sci-fi film by a director who hated sci-fi; a Hammer production that sat on the shelf for over two years before being released with almost no publicity as the second half of a double bill. Losey was a director vocal in his dislike of depictions of physical violence, but he often made films that radiate an energy produced by a violent clash of elements. The Damned catches a series of collisions — some of them inadvertent — and traps them as if in amber. Its volatile elements include Losey, the blacklisted director; Hammer, the erratic British studio, Oliver Reed, the 'dangerous' young actor, and radioactive children. This book concentrates on historical and cultural context, place, genre, and other themes in order to try to make sense of a fascinating, underappreciated film.

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22

Sorensen, Eli Park. Science Fiction Film. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481847.001.0001.

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Opening a debate about the political dimension of science fiction films, this book uses Carl Schmitt’s thought to provide a new theoretical approach to American cinematic sci-fi since the late 1970s. Drawing on Schmitt’s notion of the state of exception and its basis in the unpredictability of tomorrow, the book looks at the political ramifications when the moment of the future finally arrives. Analyzing films such as Alien, Blade Runner and Minority Report, the book explores how power reconfigures itself to ensure the survival of the state, what ‘society’ means, who ‘we, the people’ are, and whether it will still be possible to retain a sphere of liberal, individual rights after the transformative event of the future.

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23

Must-See Sci-fi: 50 Movies That Are Out of This World. Running Press Adult, 2018.

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24

Movies, Turner Classic, Roger Corman, and Sloan De Forest. Must-See Sci-Fi: 50 Movies That Are Out of This World. Running Press, 2018.

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25

Zhang, Sam. Handbook of Nanostructured Thin Films and Coatings, Three-Volume Set. Taylor & Francis Group, 2020.

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26

Zhang, Sam. Handbook of Nanostructured Thin Films and Coatings, Three-Volume Set. Taylor & Francis Group, 2020.

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27

Handbook of Nanostructured Thin Films and Coatings, Three-Volume Set. Taylor & Francis Group, 2020.

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28

Berry, Michael. Jia Zhangke on Jia Zhangke. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022732.

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Jia Zhangke on Jia Zhangke is an extended dialogue between film scholar Michael Berry and the internationally acclaimed Chinese filmmaker. Drawing from extensive interviews and public talks, this volume offers a portrait of Jia’s life, art, and approach to filmmaking. Jia and Berry’s conversations range from Jia’s childhood and formative years to extensive discussions of his major narrative films, including the classics Xiao Wu, Platform, The World, Still Life, and A Touch of Sin. Jia gives a firsthand account of his influences, analyzes the Chinese film industry, and offers his thoughts on subjects such as film music, working with actors, cinematography, and screenwriting. From industry and economics to art and politics, Jia Zhangke on Jia Zhangke represents the single most comprehensive document of the director’s candid thoughts on the art and challenges of filmmaking.

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29

Baker, Aaron. The Films of Steven Soderbergh. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036057.003.0001.

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This chapter examines the films of Steven Soderbergh. Soderbergh's twenty feature films present a diverse range of subject matter and formal styles. They range from his 1989 breakthrough hit Sex, Lies, and Videotape, about the sex lives of four twenty-somethings, to social-problem films such as Erin Brockovich and The Informant! (2009). Even the cost of making his films has shown great variety, ranging from the six-figure budget for Schizopolis (1996) to the star-studded Ocean's series blockbusters (2001, 2004, 2007) that averaged nearly one hundred million dollars to produce. The eclecticism in Soderbergh's movies would appear to invalidate a claim to the distinctive style typical of film authorship. However, the chapter argues that the variety of his work and the commercial viability of some of his films are prominent aspects of his individual style.

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30

Mckernan, Luke. Searching for Mary Murillo. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0007.

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In this chapter, the author highlights the value of online newspaper archives and digitized census, family history, and other sources that he consulted in his research about little-known scriptwriter from the silent era, Mary Murillo. He begins with a background on Murillo, a screenwriter in American cinema for ten years, then worked in British films for six or more years, and moved to work in French films at the start of the talkies. The fact that she had almost disappeared from dominant film history narratives says much about how women filmmakers have been allowed to slip out of the history of early film and about the low status of scriptwriters generally. The author traces the journey he took in trying to know more about Murillo, from typing her name into Google and sifting through family history sources, shipping records, databases, census records, newspapers, contemporary movie guides, trade papers, archives, and asking people. In a postscript, he talks about additional information that has emerged about Murillo since he first investigated her in 2009.

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31

Buhler, James. Theories of the Classical Sound Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0003.

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Chapter 3 examines theories after the sound film had been codified. The characteristic forms of theory became the grammar and typology: the goal was to map the potential formal relations between image and sound. This chapter considers six theoretical models focusing on the treatment of music and the relationship of the soundtrack to narrative: Eisenstein’s concept of vertical montage and the modes of synchronization that he developed from the concept; Aaron Copland’s typology of functions for film music; Hanns Eisler and Theodor W. Adorno’s response to Eisenstein, their critique of Hollywood practice, and their list of “bad habits”; and the formal typologies offered by Raymond Spottiswoode, Siegfried Kracauer, and Roger Manvell and John Huntley, which all seek to map the conceptual space of the image–sound relationship in film.

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32

Stevens, Kyle, ed. The Oxford Handbook of Film Theory. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190873929.001.0001.

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Abstract Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what “a movie” or “the cinematic” are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the twenty-first century was preoccupied, understandably, by digital technology’s permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film’s materiality toward timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-theory; Film Theory’s Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close Is Close Reading?; and The Turn to Experience.

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33

Kord, Susanne. 12 Monkeys. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781999334000.001.0001.

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Terry Gilliam's 12 Monkeys (1995) was a commercial and critical success, but it is Gilliam's least understood film, even on the basic plot level. Aside from recognizable debts to specific films such as La Jetée (1962) and Dr. Strangelove (1964), 12 Monkeys plays with a number of genres: apocalypse and post-apocalypse movies, sci-fi, nuclear noir, and what is becoming known as “geek dystopia.” This book examines Gilliam's film — and briefly the TV series based on it — in the context of post-apocalypse movies and with an eye to the film's major themes, including mental illness, conspiracy theories, the impossibility of human closeness, and the nature of reality. It is the first to read 12 Monkeys' portrayal of time travel in light of Einstein's ideas about time and to ask what answers these ideas suggest to the film's most basic philosophical predicament: the problem of free will versus determinism.

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34

Barrett, Kyle, ed. ReFocus: The Films of Mary Harron. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474494410.001.0001.

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Mary Harron's diverse career includes cult films such as I Shot Andy Warhol, American Psycho and The Notorious Bettie Page, as well as a range of network and cable television episodes in innovative shows including Homicide: Life on the Street and Six Feet Under. This is the first book to examine an overlooked filmmaker in relation to feminist cinema, discussing the dialectical dynamics within her wide-ranging body of work. It is argued that Harron has fostered a distinctive career through her stylistic and aesthetic choices prompted by cultural contexts, controversial subject matter and production limitations. Each chapter provides an in-depth study on Harron's creative approaches to film and television production, with essays offering close readings of her 5 narrative features, television work, and promotional films. The book offers a robust examination, with scholarly approaches from the fields of cinema, television, gender, fashion, death and celebrity studies. This is a long-awaited and crucial introduction to a ground-breaking figure in contemporary cinema.`

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35

Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.

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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.

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36

Laux, Lothar, ed. Originell und kreativ. Hogrefe AG, 2022. http://dx.doi.org/10.1024/86111-000.

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Was macht die Einzigartigkeit kreativer Lösungen aus? Ist Originalität das Hauptmerkmal von kreativen Produkten und Personen? Kann Kreativität durch Training und Techniken gefördert werden? Lothar Laux und sein Team beantworten diese und weitere Fragen auf anschauliche und abwechslungsreiche Weise. Mit vielen Beispielen und Abbildungen bringen sie ihre Faszination für originelle Ideen kreativer Persönlichkeiten zum Ausdruck. Sie laden die Leserinnen und Leser zudem ein, ihre eigenen kreativen Möglichkeiten für sich zu entdecken. Die Beispiele stammen aus Anwendungsbereichen wie Architektur, Theater, Fernsehen, Film, Literatur, Kunst, Medien und Produktentwicklung. Die Spannweite der Einzelthemen reicht vom antiken göttlichen Funken bis zur aktuellen Frage, ob die mithilfe von Künstlicher Intelligenz geschaffenen Werke wirklich die Qualität menschlicher Kreativität erreichen. Zwischen diesen beiden Polen liefert das Buch Ideen und Material zu folgenden Aspekten der Kreativitätsforschung: •Kreativität: Modebegriff zwischen Euphorie und Skepsis •Originalität: qualitative Kernkompetenz der Kreativität •Bisoziation: das Grundprinzip von Humor, Kunst und Wissenschaft •Originalitäts-Plus-Modell: Powertechniken •Think inside the box: das neue überlegene Paradigma? •Entdeckerqualitäten: vom Hinterfragen bis zum Verknüpfen •Grüne Wiesen im grauen Alltag: individuelle Kreativitätsförderung •Hochkreative Personen unter der Lupe: auf drei Ebenen und acht Stufen •Weibliche Kreativität: lange Zeit verkannt, jetzt neu entdeckt •Postdramatisches Regietheater: Zerschlagen von Klassikern Als roter Faden zieht sich das Schlüsselkonzept Transformation - auf dem die Originalität basiert - durch alle Kapitel. Mit dem Buch lässt sich der Zauber von Transformationen entdecken: Fixierte Bedeutungen werden aufgelöst, Ideen und Dinge schöpferisch umgewandelt.

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37

Maddrey, Joseph. Brainstorm. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348318.001.0001.

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The makers of Brainstorm (1983) spent more than a decade transferring the revolutionary concept of an ‘empathy machine’ from page to screen, only for the famously troubled production to be met with critical and commercial indifference on release. But since 1984 the film has continued to inspire viewers to imagine possibilities for the future. As a result, Brainstorm now seems less like a fixed piece of film history than an idea in evolution. The screen story embodies the ambitions of sci-fi cinema going back to the 1950s, as well as the turbulent culture of the western world in the 1960s and 1970s. It also foreshadows technological breakthroughs around the turn of the twenty-first century, making the film startlingly relevant to our digitally enhanced information age. To fully appreciate the film's ‘ultimate experience’, it helps to understand exactly how the film evolved. This book aims to provide context for such an understanding, beginning with a brief history of science fiction cinema and setting up a careful consideration of multiple drafts of the Brainstorm screenplay by three different screenwriters: Bruce Joel Rubin, Philip F. Messina, and Robert Stitzel. It also briefly examines the production history of the film (including the tragic death of star Natalie Wood), the career of the director and special effects wizard Douglas Trumbull, the particulars of the completed film, and the film's influence on future storytellers like James Cameron.

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38

Kronengold, Charles. Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0003.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores audiovisual intensification in post-1997 Hong Kong action films, focusing on the performance of everyday activities in Johnnie To’s 2004Breaking News (Dai si gin, 2004) This film’s heightened depictions of materiality, temporality, and the ordinary provide a means to register multisensory experience in a changing urban society. Sound and music work alongside the narrative and the mise-en-scène, creating a contrapuntal weave of lines through the film. Without relying on dialogue,Breaking Newsreveals the weight and dimensionality of the human in ways specific to both digital cinema and Hong Kong experience. Everyday objects, and the quotidian activities associated with them, are granted a strong audiovisual presence; this helps create an intensified ordinary that deepens and supplements the film’s status as action cinema.

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39

Grimm, Joshua. Ex Machina. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348301.001.0001.

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Ex Machina (2014) impressed critics and audiences alike with its bold ideas and all-too-realistic depiction of the unexpected consequences of constructing a sentient being. In his feature directorial debut, Alex Garland uses efficient storytelling, a compelling narrative, and heady concepts to create a modern science fiction masterpiece that explores gender, scientific advancement, and the very concept of humanity, all in a compelling, suspenseful film. Artificial intelligence has long been a sci-fi staple, but here, Garland posits what would happen if, for once, humans, rather than AI, were the real villains. In exploring Ex Machina's ideas about consciousness, embodiment, and masculinity, all through the lens of a misogynist mad scientist, Joshua Grimm argues the result is a fascinating, truly unique film that immediately established Garland as a breakout voice in the landscape of science fiction film.

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40

Schwadron, Hannah. Punk Porn Princess Joanna Angel and the Rise of Jewess Raunch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190624194.003.0006.

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This chapter transitions from mainstream film to the adult film industry, highlighting the punk porn and XXX parody of popular Jewish porn star and director Joanna Angel. As Angel leads an altporn phenomenon, she exemplifies the salability of the Sexy Jewess who sells sex outright. Her Burning Angel brand of Jewish joke-work builds on the emboldened platforms of neoburlesque striptease while nodding to the ironic suggestion of sex in mainstream comedy and its horrible sin when seen in Hollywood plots. Powered by their success as hard-core sex, Angel’s performances play with the liberatory potential of Jewess raunch as a secular comic pulpit for distinctly commercial ends.

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41

Caps, John. Off to See the World. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0010.

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This chapter details events following Mancini's break with Blake Edwards. While the break was a private event that seemed to put his future career into a state of flux, Mancini sensed a chance to advance, an opportunity in the making, when a phone call reached him at that songwriting contest in Rio. It was Paramount Studios calling. They had been bankrolling a gritty film about the 1876 Irish coal miners' strike in Pennsylvania called The Molly Maguires (1970), and the project was in trouble. The film was being judged too monotone and grim, while the music was deemed too little, too light, casting the drama into doubt. The studio' thought was that with a little more color in the score, and especially a firmer sense of musical drama, the whole momentum of the film might be lifted. And from Mancini's point of view this was just the breath of fresh air that this composer-in-transition had wanted. Almost immediately on finishing The Molly Maguires, Mancini would receive another surprise call from even further afield, announcing that the great Italian neorealist director Vittorio De Sica and the great producer Carlo Ponti wanted to work with him in the film I Girasoli (1970), soon to take the American title Sunflower.

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42

McCrea, Christian. Dune. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325826.001.0001.

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David Lynch's Dune (1984) is the film that science fiction — and the director's most ardent fans — can neither forgive nor forget. Frank Herbert's original 1965 novel built a meticulous universe of dark majesty and justice, as wild-eyed freedom fighters and relentless authoritarians all struggled for control of the desert planet Arrakis and its mystical, life-extending “spice.” After several attempts to produce a film, Italian movie mogul Dino De Laurentiis and his producer daughter Raffaella would enlist David Lynch, whose Eraserhead (1977) and The Elephant Man (1980) had already marked him out as a visionary director. What emerges out of their strange, long process is a deeply unique vision of the distant future; an eclectic bazaar of wood-turned spaceship interiors, spitting tyrants, and dream montages. Lynch's film was “steeped in an ancient primordial nastiness that has nothing to do with the sci-fi film as we currently know it,” as Village Voice critic J. Hoberman put it — only with time becoming a cult classic. This book is the first long-form critical study of the film; it delves into the relationship with the novel, the rapidly changing context of early 1980s science fiction, and takes a close look at Lynch's attempt to breathe sincerity and mysticism into a blockbuster movie format that was shifting radically around him.

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Haynes, Lloyd. The Evil Dead. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859340.001.0001.

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THE EVIL DEAD is one of the most inventive and energetic of all horror movies. Sam Raimi’s debut feature transcends its small budget and limited resources to deliver a phantasmagoric roller-coaster ride, a wildly absurd and surreal assault on the senses. The first two chapters detail the unique circumstances of the film’s origin - it began life as a short film which was used to encourage financial backing from a variety of investors – and it’s production history which was fraught with problems. Chapter Three examines the concept of the Bad Place (the cabin in the woods) and how the film structurally creates a ‘bad dream’ effect. Chapter Four considers how the film’s ‘macho’ male hero Ash shares similarities with the Final Girl of other horror movies of this period, while Chapter Five explores the critical approaches to the film and its reputation in Britain as a ‘video nasty’. Chapter Six examines how THE EVIL DEAD has influenced other works both within and outside of the horror genre since its release in 1982.

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Bloodworth, Michelle. Practicing Community Psychology in a Small Evaluation and Consulting Firm. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190457938.003.0012.

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Practicing community psychology in a small evaluation and consulting firm can offer a lot of flexibility and autonomy but without some of the challenges of being an independent consultant. This chapter talks about the author’s experience over the past six years of working in such a firm, identifying both some of the benefits and challenges. The author discusses who might be attracted to a position in a small firm such as the one where she works and the preparation that might be useful. It also addresses how the author has increasingly brought both her community psychology competencies and values into her work.

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Fleming, Colin. Scrooge. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800857032.001.0001.

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This Devil’s Advocate explores the cinematic wonders of Brian Desmond Hurst’s much loved 1951 adaptation of A Christmas Carol, Scrooge, through the prism of horror cinema, arguing that the film has less in common with cosy festive tradition than it does with terror cinema like James Whale’s Bride of Frankenstein, Robert Weine’s The Cabinet of Dr. Caligari, and F.W. Murnau’s Faust. Beginning with Charles Dickens himself, a prolific writer of ghost stories, with A Christmas Carol being but one of many, Colin Fleming then considers earlier cinematic adaptations including 1935’s folk-horror-like Scrooge, before offering a full account of the Hurst/Sim version, stressing what must always be kept at the forefront of our minds: this is a ghost story.

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Brewer Redwine, Elizabeth. Gender, Performance, and Authorship at the Abbey Theatre. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192896346.001.0001.

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Gender, Performance, and Authorship offers a different way to consider the creation of the major characters of the Abbey Theatre, holding the lines between writing and performing up to scrutiny, and ending with a connection between theatrical and film performance. The book challenges the way that authorship and ownership have been defined as far back as the earliest productions at the Abbey, offering a redefinition of authorship and gender in these plays that reveals the influence and unheralded power of actresses at the Abbey. The book begins with W. B. Yeats’s collaboration with Laura Armstrong in his earliest plays, his work with Maud Gonne on both The Countess Cathleen and Cathleen ni Houlihan, and then discusses J. M. Synge’s productive work with Molly Allgood (stage name Maire O’Neill) first in The Playboy of the Western World and then in Deirdre of the Sorrows, a play she helped complete after his death. A chapter on the six women necessary to the creation of Yeats’s Deirdre follows, before an Epilogue exploring connections between the tableau movement, the Abbey Theatre, and Sara Allgood’s film work.

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Knight, Julia. Cinema of Women. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0017.

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This chapter examines the role of distributors and a range of issues that come into play in getting films from their makers to their potential audiences by focusing on the work of the UK women's distributor Cinema of Women (COW). COW was founded in 1979 by six women—Mandy Rose, Fern Presant, Audrey Summerhill, Caroline Spry, Melanie Chail, and Maggie Sellers—who had been “shocked by the limited availability of good films made by women.” They set out to get feminist films into first-run cinemas and onto television, but they felt also that women filmmakers should be able to exercise some control over where and how their films were exhibited. This chapter considers the challenges faced by COW in trying to make their films accessible to wider audiences in the UK via theatrical release. It shows that building audiences of especially (although not exclusively) women is central to COW's distribution work. Furthermore, COW's performance and the level of service the distributor offered did not always meet filmmakers' expectations.

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Platte, Nathan. “Drama Rising like Mighty Music”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0003.

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Selznick’s move to RKO in 1931 brought the producer in contact with music director Max Steiner. Through their collaborative relationship they defined and directed the role of symphonic underscore in Hollywood. This chapter charts their systematic expansion of background scoring within individual films and the extension of this music beyond films in sheet music and concert performances. Special emphasis is placed on Symphony of Six Million (1932) and the “island-adventure trilogy” of Bird of Paradise (1932), The Most Dangerous Game (1932), and King Kong (1933). Tracking music’s role across these four films reveals how Steiner and Selznick’s experimental use of background scoring creatively reworked silent-era musical practices to produce a widely influential scoring model. Selznick’s RKO productions also feature critical but overlooked contributions from orchestrator Bernhard Kaun, sound engineer Murray Spivack, and African-American choral director Clarence Muse.

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Firebrace, William. Zickzack. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/14431.001.0001.

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Zigzagging through six locations on the edges of the German-speaking world, exploring them through politics, architecture, literature, film, art, music, food, and history. “Zickzack” is the German word for “zigzag”: hopping around, moving back and forth, never following a straight line, avoiding the monotony of one thing following another. Zickzack is William Firebrace's zigzagging exploration of six places on the edges of the German-speaking world. Deploying essays, narration, conversations, descriptions, and lists, Firebrace celebrates locations on defined and undefined borders, where cultures, languages, and histories mix. In his nonlinear wandering, he touches on ethnicity, topography, history, film, literature, myth, languages, and gastronomy. These locales are not the famous cities of Berlin, Vienna, and Zurich, but areas that straddle countries, geographies, and influences. Two are within Germany itself, one lies on (and over) the border with Poland, and three were once within the loose German cultural zone but now belong to other countries. Firebrace explores Strasbourg, capital of Alsace and part of a long-running territorial dispute between France and Germany; Königsberg, which spent some of the twentieth century as Kaliningrad; and Görlitz and Zgorcelec, twin cities on either side of a river. He plays hopscotch with churches in Backstein and takes a train trip past cities with double names—Sterzing-Vipiteno, Brixen-Bressanone, Klausen-Chiusa, signs of the double culture, where everything happens twice but in a slightly different way. In the zigzags of the German-speaking world, the original culture sometimes survives, sometimes is deliberately destroyed, sometimes merges with other cultures, and often, if submerged, resurfaces in a different form.

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Marmysz, John. The Abject Self: Apocalyptic Consequences of Self-discovery in Fight Club. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424561.003.0011.

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This chapter examines both the book and the film Fight Club, considering the main character’s quest for self-discovery in light of Sigmund Freud’s observations from Civilization and Its Discontents. The chapter considers whether or not it may be preferable for humans to remain repressed and in the grips of nihilism rather than unleashing the primal drives of eros and thanatos, which could potentially result in the disintegration of civilization. It is argued that Fight Club’s underlying message is ambiguous; at once revolutionary and conservative in appealing to our longing for individual liberation while also depicting the frightening consequences that follow from the emancipation of repressed human fury. The chapter closes with a consideration of how Plato’s account of sick societies from Republic mirrors the events in Fight Club.

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