Addressing questions of trust and authority that plague our information-addled society, the series acquired a large fan base of individuals interested in debating and interpreting the philosophical themes that underlie the symbiotic partnership between Mulder and Scully. The Philosophy of The X-Files concentrates not only on the philosophical assumptions and presuppositions of the show but also on how the episodes portray the process of philosophical inquiry. Editor Dean A. Kowalski argues that both philosophy and The X-Files center around a determination to search for truth despite a frequent lack of information and proper tools. It is no surprise, then, to find the series riddled with common philosophical themes, including metaphysics, epistemology, ethics, political philosophy, aesthetics, and existentialism, among others. The first section of the book addresses the credos put forth by the series and examines the philosophical significance of its three popular slogans: "The truth is out there," "Trust no one," and "I want to believe." In the second section, contributors analyze the philosophical underpinnings of the characters of Mulder, Scully, the Cigarette Smoking Man, and Assistant Director Walter Skinner. A final section is devoted to individual episodes and engages with the philosophical issues raised by "Clyde Bruckman's Final Repose" and "Jose Chung's 'From Outer Space, '" in addition to the 1998 film The X-Files: Fight the Future. Two appendixes offer a summary of the main storyline and brief plot summaries of each television episode together with the philosophical issues it raises. The first collection of philosophical essays devoted exclusively to the show, The Philosophy of The X-Files shows a television series successfully engaged with the philosophical quandaries of the modern world and explores how Mulder and Scully's personalities and actions invite inquiry into patterns of human belief and behavior.

    They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To

    Throughout church history, interpreters have approached biblical interpretation in different ways, using different tools and methods. This book conveniently and accessibly surveys major biblical interpreters and approaches to hermeneutics from the patristic period to the present days. It provides a theoretical basis for understanding the processes of hermeneutics in different faith traditions.

    Fully illustrated and featuring three-dimensional replicas of rare memorabilia, this unprecedented book truly brings Barbie to life in full-color, and fabulous style. With the full support of Mattel, the publication of All Dolled Up is a highlight among nationwide Barbie events and marketing initiatives being staged for the anniversary.In five decades, the influence of Barbie on girls and the world of fashion has never faded. Now devoted collectors, baby boomers reminiscing about the doll's classic beauty, moms still dreaming of the pink Corvette of the '80s, and children just discovering her will relive the magic of Barbie through key eras in her development—her debut in 1959, the Mod Era of the late '60s, the big, bold '80s, the Totally Hair '90s, and up to today. Original doll packaging, Barbie comic books, designer's sketches, and an official fan club membership card and welcome letter are among the rare Barbie ephemera that have been reproduced. The narrative combines historical detail with contributions from moms, daughters, and fashion celebrities including Diane Von Furstenburg, Christian Dior, Versace, Armani, Bob Mackie, and Vera Wang. It's Barbie doll's birthday and no one wants to be left out of the party!

    A singular achievement of stylistic brio and impeccable scholarship, it breaks new ground in making a powerful case for treating Derrida as homo religiosis.... There can be no mistaking the importance of Caputo's work." --Edith Wyschogrod"No one interested in Derrida, in Caputo, or in the larger question of postmodernism and religion can afford to ignore this pathbreaking study. Taking full advantage of the most recent and least discussed writings of Derrida, it offers a careful and comprehensive account of the religious dimension of Derrida's thought." --Merold Westphal

    Next he provides more extensive treatments of such major nineteenth-century figures as Schleiermacher, Böckh, Droysen, and Dilthey. There are full chapters devoted to Heidegger and Gadamer as well as shorter discussions of Betti, Habermas, and Derrida. Because he is the first to pay close attention to pre-Romantic figures, Grondin is able to show that the history of hermeneutics cannot be viewed as a gradual, steady progression in the direction of complete universalization. His book makes it clear that even in the early period, hermeneutic thinkers acknowledged a universal aspect in interpretation—that long before Schleiermacher, hermeneutics was philosophical and not merely practical. In revising and correcting the standard account, Grondin's book is not merely introductory but revisionary, suitable for beginners as well as advanced students in the field.

    Films widely disparate in subject, sentiment, and technique, they nonetheless shared one dual purpose: to provide the audience (of women, primarily) with temporary liberation into a screen dream - of romance, sexuality, luxury, suffering, or even wickedness - and then send it home reminded of, reassured by, and resigned to the fact that no matter what else she might do, a woman's most important job was...to be a woman. Now, with boundless knowledge and infectious enthusiasm, Jeanine Basinger illuminates the various surprising and subversive ways in which women's films delivered their message. Basinger examines dozens of films, exploring the seemingly intractable contradictions at the convoluted heart of the woman's genre - among them, the dilemma of the strong and glamorous woman who cedes her power when she feels it threatening her personal happiness, and the self-abnegating woman whose selflessness is not always as "noble" as it appears. Basinger looks at the stars who played these women (Kay Francis, Barbara Stanwyck, Joan Crawford, Bette Davis, Rosalind Russell, Susan Hayward, Myrna Loy, and a host of others) and helps us understand the qualities - the right off-screen personae, the right on-screen attitudes, the right faces, the right figures for carrying the right clothes - that made them personify the woman's film and equipped them to make believable drama or comedy out of the crackpot plots, the conflicting ideas, and the exaggerations of real behavior that characterize these movies. In each of the films the author discus

    Barri Flowers in this unparalleled collection of some of the top true-crime writers in the world.

    When he released his debut album, Dice, in 1989, the parental advisory label simply read “Warning: This album is offensive.” His material stretched the boundaries of decency and good taste to their breaking point, and in turn he became the biggest stand-up comic in the world.In The Filthy Truth, Dice chronicles his remarkable rise, fall, and triumphant return. Brooklyn-born Andrew Clay Silverstein started out at Pips Comedy Club in Sheepshead Bay and eventually made a name for himself a decade later with a breakout appearance on the Rodney Dangerfield HBO special Nothing Goes Right. With that single TV appearance he became the new king of comedy, and Dicemania was born. He was the first and only comedian to sell out over three hundred sports arenas across the country to an audience of more than twelve million people. He was also the first comedian to sell out Madison Square Garden two nights in a row.But Dice’s meteoric rise and spectacular fame brought on a furious backlash from the media and critics. Billboards for his album produced by Rick Rubin and for his movie The Adventures of Ford Fairlane were defaced and ripped down as fast as they were put up. By the mid-nineties, though still playing to packed audiences, the turmoil in his personal life, plus attacks from every activist group imaginable, led him to make the decision to step out of the spotlight and put the focus on raising his boys.The Diceman was knocked down, but not out. Taking inspiration from what Frank Sinatra once told him—“You work for your fans, not the media. The media gets their tickets for free”—Dice is now back with critically acclaimed roles in HBO’s Entourage and Woody Allen’s Blue Jasmine, and is once again playing to sold-out audiences.Filled with no-holds-barred humor and honesty, The Filthy Truth sets the record straight and gives fans plenty of never-before-shared stories from his career and his friendships with Howard Stern, Sam Kinison, Mickey Rourke, Sylvester Stallone, Axl Rose, and countless others.

    Mark Cousins’s chronological journey through the worldwide history of film is told from the point of view of filmmakers and moviegoers. Weaving personalities, film technology, and production with engaging descriptions of groundbreaking scenes, Cousins uses his experience as film historian, producer, and director to capture the shifting trends of movie history. We learn how filmmakers influenced each other; how contemporary events influenced them; how they challenged established techniques and developed new technologies to enhance their medium. Striking images reinforce the reader’s understanding of cinematic innovation, both stylistic and technical. The images reveal astonishing parallels in global filmmaking, thus introducing the less familiar worlds of African, Asian, and Middle Eastern cinema, as well as documenting the fortunes of the best Western directors. The Story of Film presents Silent (1885-1928), Sound (1928-1990), and Digital (1990-present), spanning the birth of the moving image; the establishment of Hollywood; the European avant-garde movements, personal filmmaking; world cinema; and recent phenomena like Computer Generated Imagery and the ever-more “real” realizations of the wildest of imaginations. The Story of Film explores what has today become the world’s most popular artistic medium.

    To the young people of today, the 1960s seems like another age. But for those who grew up in this decade, school life, 'mod' fashions and sixties pop music are still fresh in their minds. From James Bond to Sindy dolls and playing hopscotch in the street, life was very different to how it is now. After the tough and frugal years of the fifties, the sixties was a boom period, a time of changed attitudes and improved lifestyles. With chapters on home and school life, games and hobbies, music and fashion, alongside a selection of charming illustrations, this delightful compendium of memories will appeal to all who grew up in this lively era. Take a nostalgic look at what it was like to grow up during the sixties and recapture all aspects of life back then.PAUL FEENEY is a writer and part-time business consultant. He has also written a local history of Highgate and A 1950s Childhood: from Tin Baths to Bread and Dripping. He lives in Surrey."If you grew up in the Swinging Sixties, you’ll love Paul Feeney’s A 1960s Childhood." - Reviewed in Yours Magazine, 23rd Feb ’10."The author captures the atmosphere and 'furniture' of the Sixties to perfection, even recreating a typical family Christmas of the time. Whether you were a child or an adult in that most eventful decade, this excellent book, with charming black and white illustrations, will throw up lots of talking points." - Reviewed in This England, Summer 2010 edition

    Randy Taraborrelli comes the definitive biography of the most enduring icon in popular American culture. When Marilyn Monroe became famous in the 1950s, the world was told that her mother was either dead or simply not a part of her life. However, that was not true. In fact, her mentally ill mother was very much present in Marilyn's world and the complex family dynamic that unfolded behind the scenes is a story that has never before been told...until now. In this groundbreaking book, Taraborrelli draws complex and sympathetic portraits of the women so influential in the actress' life, including her mother, her foster mother, and her legal guardian. He also reveals, for the first time, the shocking scope of Marilyn's own mental illness, the identity of Marilyn's father and the half-brother she never knew, and new information about her relationship with the Kennedy's-Bobby, Jack, and Pat Kennedy Lawford. Explosive, revelatory, and surprisingly moving, this is the final word on the life of one of the most fascinating and elusive icons of the 20th Century.

    He studies Lynch's talent for blending the bizarre and the normal to emphasize the odd nature of normality itself. Hollywood is often criticized for distorting reality and providing escapist fantasies, but in Lynch's movies, fantasy becomes a means through which the viewer is encouraged to build a revolutionary relationship with the world.Considering the filmmaker's entire career, McGowan examines Lynch's play with fantasy and traces the political, cultural, and existential impact of his unique style. Each chapter discusses the idea of impossibility in one of Lynch's films, including the critically acclaimed Blue Velvet and The Elephant Man; the densely plotted Lost Highway and Mulholland Drive; the cult favorite Eraserhead; and the commercially unsuccessful Dune. McGowan engages with theorists from the "golden age" of film studies (Christian Metz, Laura Mulvey, and Jean-Louis Baudry) and with the thought of Sigmund Freud, Jacques Lacan, and Hegel. By using Lynch's weirdness as a point of departure, McGowan adds a new dimension to the field of auteur studies and reveals Lynch to be the source of a new and radical conception of fantasy.

    This second collection brings together the best of his other non-fiction pieces, on film and tv, writers and painters and music, and including one exceptional fragment of autobiography. With subject matter ranging from the Sundance Festival to Abbey Road Studios, from P.G. Wodehouse to The West Wing, these are pieces that ‘were written for fun, or because I felt I had things to say and time to say them, or because the commissions were unusual and imaginative, or because … I was being asked to go somewhere I had never been before.’

    They Drew as They Pleased showcases four of these early pioneers and features artwork developed by them for the Disney shorts from the 1930s, including many unproduced projects, as well as for Snow White and the Seven Dwarfs, Pinocchio, and some early work for later features such as Alice in Wonderland and Peter Pan. Introducing new biographical material about the artists and including largely unpublished artwork from the depths of the Walt Disney Archives and the Disney Animation Research Library, this volume offers a window into the most inspiring work created by the best Disney artists during the studio's early golden age.They Drew as They Pleased is the first in what promises to be a revealing and fascinating series of books about Disney's largely unexamined concept artists, with six volumes spanning the decades between the 1930s and 1990s. Copyright ©2015 Disney Enterprises, Inc. All rights reserved.