From what was wrong with the pilot to what was right with the Reavers, from the use of Chinese to how correspondence between Joss and network executives might have gone, from a philosopher’s perspective on “Objects in Space” to a sex therapist’s analysis of Inara, Finding Serenity is filled with writing as exciting, funny and enthralling as the show itself.

    He shares excerpts from conversations with filmmakers like Peter Jackson, Wim Wenders, Kevin Smith, Scott Derrickson, producer Ralph Winter, and stars like Elijah Wood, Ian McKellan, Keanu Reeves and the cast of Serenity, drawing “war-stories” from his encounters with movie stars, moviemakers, moviegoers and other critics in both mainstream and religious circles. He argues that what makes some films timeless rather than merely popular has everything to do with the way these artists—whether they know it or not—have captured reflections of God in their work.Through a Screen Darkly also includes a collection of reviews, humorous anecdotes and on-the-scene film festival reports, as well as recommendations for movie discussion groups and meditations on how different films echo the myriad ways in which Christ captured the attention and imagination of culture.

    Here is the inside story of a monumental achievement conceded even by its enemies to mark a turning point in the art of cinema."If 2001 has stirred your emotions, your subconscious, your mythological yearnings, then it has succeeded."--Stanley Kubrick

    M. Bakhtin. Toward a Philosophy of the Act contains the first occurrences of themes that occupied Bakhtin throughout his long career. The topics of authoring, responsibility, self and other, the moral significance of "outsideness," participatory thinking, the implications for the individual subject of having "no-alibi in existence," the difference between the world as experienced in actions and the world as represented in discourse—all are broached here in the heat of discovery. This is the "heart of the heart" of Bakhtin, the center of the dialogue between being and language, the world and mind, "the given" and "the created" that forms the core of Bakhtin's distinctive dialogism.A special feature of this work is Bakhtin's struggle with the philosophy of Immanuel Kant. Put very simply, this text is an attempt to go beyond Kant's formulation of the ethical imperative. mci will be important for scholars across the humanities as they grapple with the increasingly vexed relationship between aesthetics and ethics.

    In this cultural examination of American film noir, poet and novelist Nicholas Christopher contrasts the nightmare world of the genre with the sunny unreality of American popular culture, presenting a fresh view of its meaning for our time.

    In opposition to these positions, Modleski asserts that Hitchcock is deeply ambivalent towards his female characters. The Women Who Knew Too Much examines both the director's complex attitude toward femininity, and the implications of that attitutde for the audience. The book represents a significant contribution to the debates in film theory around the issue of gender and film spectatorship; in particular, it seeks to complicate the view that women's response to patriarchal cinema can only be masochistic, while men's response is necessarily sadistic.Applying the theories of psychoanalysis, mass culture, and a broad range of film (and) feminist criticism, Modleski offers compelling readings of seven Hitchcock films from various periods in his career.

    For nearly forty years, the films of George A. Romero have presented viewers with hellish visions of our world overrun by flesh-eating ghouls. This study proves that Romero's films, like apocalyptic literature or Dante's Commedia, go beyond the surface experience of repulsion to probe deeper questions of human nature and purpose, often giving a chilling and darkly humorous critique of modern, secular America.

    He clearly outlines the fundamentals of working with dreams, daydreams, and fantasies, discussing numerous anxiety dreams, nightmares, and fantasies told to him by his own patients. By examining transference and countertransference in detail through the use of clinical vignettes, Fink lays out the major differences (regarding transference interpretation, self-disclosure, projective identification, and the therapeutic frame) between mainstream psychoanalytic practice and Lacanian practice. He critiques the ever more prevalent normalizing attitude in psychoanalysis today and presents crucial facets of Lacan's approach to the treatment of neurosis, as well as of his entirely different approach to the treatment of psychosis.Fundamentals of Psychoanalytic Technique is an introduction to psychoanalytic technique from a Lacanian perspective that is based on Fink's many years of experience working as an analyst and supervising clinicians, including graduate students in clinical psychology, social workers, psychiatrists, psychotherapists, and psychoanalysts. Designed for a wide range of practitioners and requiring no previous knowledge of Lacan's work, this primer is accessible to therapists of many different persuasions with diverse degrees of clinical experience, from novices to seasoned analysts.Fink's goal throughout is to present the implications of Lacan's highly novel work for psychoanalytic technique across a broad spectrum of interventions. The techniques covered (all of which are designed to get at the unconscious, repression, and repetition compulsion) can be helpful to a wide variety of practitioners, often transforming their practices radically in a few short months.

    As farcical political elections continue to unfold worldwide like a line of tumbling dominoes, and governments increasingly struggle to reclaim a legitimacy that has already slipped out of their grasp, Now clarifies the Invisible Committee's attitude toward all such elections and their outcome: one of utter indifference. Now proposes a “destituent process” that charts out a different path to be taken, a path of outright refusal that simply ignores elections altogether. It is a path that calls for taking over the world and not taking power, for exploring new forms of life and not a new constitution, and for desertion and silence as alternatives to proclamations and crashes. It is also a call for an unprecedented communism—a communism stronger than nation and country.

    This book is produced with fold-out pages featuring Thomas's screen prints alongside the text of Auster and is packaged in a box. Auster and Thomas first collaborated in 2002. Thomas showed Auster some of his work and suggested a graphic arts project that would combine an Auster text with a series of drawings. Auster liked the idea and asked Thomas to choose one of his texts. A text was selected from The New York Trilogy—City of Glass, a very moving and intense section, which Thomas called ""The Peter Stillman Monologue."" In December of 2003, a limited edition linen portfolio was printed that contained 8 twocolor silkscreen prints plus a signed colophon. Both Auster and Thomas were so pleased with the results that they decided to do a second project, the result of which is The I er Life of Martin Frost. This is a Rozenberg Title.

    In The Tibetan Art of Living, Christopher Hansard -- the leading Western practitioner of Tibetan medicine -- introduces you to Bön's uniquely empowering worldview, and guides you to a new and enlightened level of discovery. His is the first book to reveal how to apply the wisdom and principles of Tibetan medicine to daily life. The Tibetan Art of Living provides clear and practical techniques and advice that will lead to: A greater knowledge of yourselfAn understanding of the origins and causes of illness, and how we all hold illness in our bodies as well as in our mindsThe awareness that we are our own best healersA life of physical, emotional, and spiritual health From dietary guidelines, massage, and rejuvenation techniques to mind-strengthening skills, soul medicine, and herbal remedies for common ailments, Hansard presents many simple ways of inviting Tibetan Bön wisdom and spirituality into everyday life.

    She is arguably the most important teacher of acting in American history. Over her long career, both in New York and Hollywood, she offered her vast acting knowledge to generations of actors, including Marlon Brando, Warren Beatty, and Robert De Niro. The great voice finally ended in the early Nineties, but her decades of experience and teaching have been brilliantly caught and encapsulated by Howard Kissel in the twenty-two lessons in this book.

    Responding to Tarby's questions, Badiou takes us on a journey that interrogates and explores the four conditions of philosophy: politics, love, art and science. In all these domains, events occur that bring to light possibilities that were invisible or even unthinkable; they propose something to us. Everything then depends on how the possibility opened up by the event is grasped, elaborated and embedded in the world - this is what Badiou calls a 'truth procedure'. The event creates a possibility but there then has to be an effort - a group effort in the case of politics, an individual effort in the case of love or art - for this possibility to become real and inscribed in the world. As he explains his thinking on politics, love, art and science, Badiou takes stock of his major works, reflects on their central themes and arguments and looks forward to the questions he plans to address in his future writings. The book concludes with a short introduction to Badiou's philosophy by Fabien Tarby. For anyone wishing to understand the work of one of the most widely read and influential philosophers writing today, this small book will be an indispensable guide.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm.What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike.   “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum