This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.

    He is also an obsessive gamer who has spent untold hours in front of his various video game consoles, playing titles such as Far Cry 2, Left 4 Dead, BioShock, and Oblivion for, literally, days. If you are reading this flap copy, the same thing can probably be said of you, or of someone you know. Until recently, Bissell was somewhat reluctant to admit to his passion for games. In this, he is not alone. Millions of adults spend hours every week playing video games, and the industry itself now reliably outearns Hollywood. But the wider culture seems to regard video games as, at best, well designed if mindless entertainment. Extra Lives is an impassioned defense of this assailed and misunderstood art form. Bissell argues that we are in a golden age of gaming—but he also believes games could be even better. He offers a fascinating and often hilarious critique of the ways video games dazzle and, just as often, frustrate. Along the way, we get firsthand portraits of some of the best minds (Jonathan Blow, Clint Hocking, Cliff Bleszinski, Peter Molyneux) at work in video game design today, as well as a shattering and deeply moving final chapter that describes, in searing detail, Bissell’s descent into the world of Grand Theft Auto IV, a game whose themes mirror his own increasingly self-destructive compulsions. Blending memoir, criticism, and first-rate reportage, Extra Lives is like no other book on the subject ever published. Whether you love video games, loathe video games, or are merely curious about why they are becoming the dominant popular art form of our time, Extra Lives is required reading.

    This timely and vibrant book provides frameworks for thinking critically about the roles of digital media in personal relationships. Rather than providing exuberant accounts or cautionary tales, it offers a data-grounded primer on how to make sense of these important changes in relational life.The book identifies the core relational issues these media disturb and shows how the ways we talk about them echo historical discussions about earlier communication technologies. Chapters explore how we use mediated language and nonverbal behavior to develop and maintain communities, social networks, new relationships, and to maintain relationships in our everyday lives. It combines research findings with lively examples to address questions such as whether mediated interaction can be warm and personal, whether people are honest about themselves online, whether relationships that start online can work, and whether using these media damages the other relationships in our lives. Throughout, the book argues for approaching these questions with firm understandings of the qualities of media as well as the social and personal contexts in which they are developed and used.Personal Connections in the Digital Age will be required reading for all students and scholars of media, communication studies, and sociology, as well as all those who want a firmer understanding of digital media and everyday life.

    Our economy, our politics, our culture, and even the structure of our family life will be forever transformed." "Based on extensive original research, including interviews with Digital Natives around the world, Born Digital explores a broad range of issues, from the highly philosophical to the purely practical: What does identity mean for young people who have dozens of online profiles and avatars? Should we worry about privacy issues - or is privacy even a relevant concern for Digital Natives? How does the concept of safety translate into an increasingly virtual world? Are online games addictive, and how do we need to worry about violent video games? What is the Internet's impact on creativity and learning? What lies ahead - socially, professionally, and psychologically - for this generation?" A smart, practical guide to a brave new world and its complex inhabitants, Born Digital will be essential reading for parents, teachers, and the myriad of confused adults who want to understand the digital present - and shape the digital future.

    A preeminent scholar, writer, and teacher, he has had a profound influence on millions of people. To him, mythology was the "song of the universe, the music of the spheres." With Bill Moyers, one of America's most prominent journalists, as his thoughtful and engaging interviewer, The Power Of Myth touches on subjects from modern marriage to virgin births, from Jesus to John Lennon, offering a brilliant combination of intelligence and wit.

    Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.

    Many of us love to tell them, and even dream of making a living from it too. But what is a story? Hundreds of books about screenwriting and storytelling have been written, but none of them ask 'Why?' Why do we tell stories? And why do all stories function in an eerily similar way? John Yorke has been telling stories almost his entire adult life, and the more he has done it, the more he has asked himself why? Every great thinker or writer has their theories: Aristotle, David Hare, Lajos Egri, Robert McKee, Gustav Freytag, David Mamet, Christopher Booker, Charlie Kaufman, William Goldman and Aaron Sorkin - all have offered insightful and illuminating answers. Here, John Yorke draws on these figures and more as he takes us on a historical, philosophical, scientific and psychological journey to the heart of all storytelling.What he reveals is that there truly is a unifying shape to narrative - one that echoes the great fairytale journey into the woods, and one, like any great art, that comes from deep within. Much more than a 'how to write' book, Into the Woods is an exploration of this fundamental structure underneath all narrative forms, from film and television to theatre and novel-writing. With astonishing detail and wisdom, John Yorke explains to us a phenomenon that, whether it is as a simple fable, or a big-budget 3D blockbuster, most of us experience almost every day of our lives.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    Now, in his first book, written more than two decades after the web was created, Lanier offers this provocative and cautionary look at the way it is transforming our lives for better and for worse.The current design and function of the web have become so familiar that it is easy to forget that they grew out of programming decisions made decades ago. The web’s first designers made crucial choices (such as making one’s presence anonymous) that have had enormous—and often unintended—consequences. What’s more, these designs quickly became “locked in,” a permanent part of the web’s very structure. Lanier discusses the technical and cultural problems that can grow out of poorly considered digital design and warns that our financial markets and sites like Wikipedia, Facebook, and Twitter are elevating the “wisdom” of mobs and computer algorithms over the intelligence and judgment of individuals. Lanier also shows:How 1960s antigovernment paranoia influenced the design of the online world and enabled trolling and trivialization in online discourseHow file sharing is killing the artistic middle class;How a belief in a technological “rapture” motivates some of the most influential technologistsWhy a new humanistic technology is necessary. Controversial and fascinating, You Are Not a Gadget is a deeply felt defense of the individual from an author uniquely qualified to comment on the way technology interacts with our culture.

    It begins with an overview of film production, moves on to a consideration of the formal elements and techniques, covers film criticism and concludes with a brief section highlighting the key moments in film history. Illustrated with over 500 frame enlargements, many in colour, "Film Art" has been updated to include analysis of some of the most interesting films of recent years including "Raging Bull" and "Desperately Seeking Susan".

    His groundbreaking revelations shed light not just on business but on the way every human being acts and lives around the world. Rapaille’s breakthrough notion is that we acquire a silent system of Codes as we grow up within our culture. These Codes—the Culture Code—are what make us American, or German, or French, and they invisibly shape how we behave in our personal lives, even when we are completely unaware of our motives. What’s more, we can learn to crack the Codes that guide our actions and achieve new understanding of why we do the things we do. Rapaille has used the Culture Code to help Chrysler build the PT Cruiser—the most successful American car launch in recent memory. He has used it to help Procter & Gamble design its advertising campaign for Folger’s coffee – one of the longest-lasting and most successful campaigns in the annals of advertising. He has used it to help companies as diverse as GE, AT&T, Boeing, Honda, Kellogg, and L’Oréal improve their bottom line at home and overseas. And now, in The Culture Code, he uses it to reveal why Americans act distinctly like Americans, and what makes us different from the world around us. In The Culture Code, Dr. Rapaille decodes two dozen of our most fundamental archetypes—ranging from sex to money to health to America itself—to give us “a new set of glasses” with which to view our actions and motivations. Why are we so often disillusioned by love? Why is fat a solution rather than a problem? Why do we reject the notion of perfection? Why is fast food in our lives to stay? The answers are in the Codes. Understanding the Codes gives us unprecedented freedom over our lives. It lets us do business in dramatically new ways. And it finally explains why people around the world really are different, and reveals the hidden clues to understanding us all.

    Based on research in the USA, Asia, Latin America, and Europe, it aims to formulate a systematic theory of the information society which takes account of the fundamental effects of information technology on the contemporary world.

    The recent technological revolutions in video recording, editing, and distribution are more akin to the development of movable type than any other such revolution in the last five hundred years. And yet we are not popularly cognizant of or conversant with visual storytelling's grammar, the coded messages of its style, and the practical components of its production. We are largely, in a word, illiterate. But this is not a gloomy diagnosis of the collapse of civilization; rather, it is a celebration of the progress we've made and an exhortation and a plan to seize the potential we're poised to enjoy. The rules that define effective visual storytelling—much like the rules that define written language—do in fact exist, and Stephen Apkon has long experience in deploying them, teaching them, and witnessing their power in the classroom and beyond. In The Age of the Image, drawing on the history of literacy—from scroll to codex, scribes to printing presses, SMS to social media—on the science of how various forms of storytelling work on the human brain, and on the practical value of literacy in real-world situations, Apkon convincingly argues that now is the time to transform the way we teach, create, and communicate so that we can all step forward together into a rich and stimulating future.

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.

    One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."