Why Wakanda Matters gives this iconic film the in-depth analysis it deserves under the lens of the latest psychological concepts-as well as delving into the lasting cultural impact of this unforgettable story.Edited by Sheena C. Howard, an award-winning author, filmmaker, and scholar, Why Wakanda Matters: What Black Panther Reveals About Psychology, Identity, and Communication features a collection of essays from leading experts in a variety of fields who offer insightful perspectives on topics such as:- Cognitive dissonance: The important messages within T'Challa's nuanced identity and eventual shift from nationalism to globalism.- Intergenerational trauma and resistance: How N'Jadaka (aka Erik/Killmonger) identifies with the trauma that his ancestors have suffered.- Social identity: How Nakia, Shuri, Okoye, and Ramonda—all empowered, intelligent, and assertive women of color—can make a lasting impression on women and girls.- Collective identity: How Black Panther has created a shared fantasy for Black audience members—and why this is groundbreaking.- Cultural and racial identity: What we can learn from Black Panther's portrayal of a culture virtually untouched by white supremacy.Fans of the movie and those interested in deeper discussions about the film will revel in this thought-provoking examination of all aspects of Black Panther and the power of psychology.

    1953) has presented moviegoers with his uniquely personal vision, from his first feature film, Permanent Vacation (1980), to his latest, Ghost Dog: The Way of the Samurai (1999). As the interviews in this volume reveal, Jarmusch has always been interested in mixing very different cultural ingredients to form something uncategorizably new in films that transcend the boundaries between high and low cultures. Jarmusch half-mockingly described his movie Stranger Than Paradise (1984), the film that first brought him substantial notice, as "a semi-neorealist black comedy in the style of an imaginary Eastern European film director obsessed with Ozu, and familiar with the 1950s American television show The Honeymooners."His unique approach to movie making jump-started the low-budget American independent film movement with Stranger Than Paradise, which won the Camera d'Or for best first feature at the Cannes Film Festival.Ranging from 1981 to 2000 this collection chronicles the career and sensibility of a thoroughly independent filmmaker. It features one previously unpublished interview, two that have never appeared in English, and another two which are presented in their entirety rather than in the abridged forms in which they were published.Jarmusch discusses the actors with whom he has worked (Johnny Depp, Forest Whitaker, and Roberto Benigni among them), the progression of his camera and editing techniques, his fascination with the co-existence of disparate and often opposing cultures, and his cult status as an independent movie director. He comes across as kind, modest, and attentive, with a warm sense of humor and an ever-glowing affection for and dedication to his art, and for all the small and marginalized aspects of the world.Ludvig Hertzberg is a freelance film critic and a doctoral candidate in cinema studies at Stockholm University, Sweden.

    Ronnie and Reggie Kray are school ground bullies brought up by a domineering mother and two devoted aunts. National Service and spells in prison expose the brutality that helps establish the twin brothers as the kings of 1960s gangland London.Philip Ridley's original, uncut screenplay, almost as notorious as its subject matter is a stylised meditation on maternal love, childhood, violence and homoeroticism and takes its place as one of the masterpieces of contemporary cinema.

    It also shed light on the guarded world of Hollywood and stripped away the façade of Christina's relentless, alcoholic abuser: her adoptive mother, movie star Joan Crawford. Christina was a young girl shown off to the world as a fortunate little princess. But at home, her lonely, controlling, even ruthless mother made her life a nightmare. A fierce battle of wills, their relationship could be characterized as an ultimately successful, for Christina, struggle for independence. She endured and survived, becoming the voice of so many other victims who suffered in silence, and giving them the courage to forge a productive life out of chaos.

    Beginning with a helpful introduction that places each essay in context, specially commissioned chapters examine the following topics:philosophical issues surrounding love, friendship, affirmation and repetitionthe role of memory (and the emotions) in personal identity and decision-makingthe morality of imagination and ethical importance of memoryphilosophical questions about self-knowledge and knowing the minds of othersthe aesthetics of the film considered in relation to Gondry's other works and issues in the philosophy of perceptionIncluding a foreword by Michel Gondry and a list of further reading, this volume is essential reading for students interested in philosophy and film studies.

    In The Music of James Bond, author Jon Burlingame throws open studio and courtroom doors alike to reveal the full and extraordinary history of the soundsof James Bond, spicing the story with a wealth of fascinating and previously undisclosed tales.Burlingame devotes a chapter to each Bond film, providing the backstory for the music (including a reader-friendly analysis of each score) from the last-minute creation of the now-famous James Bond Theme in Dr. No to John Barry's trend-setting early scores for such films as Goldfinger andThunderball. We learn how synthesizers, disco and modern electronica techniques played a role in subsequent scores, and how composer David Arnold reinvented the Bond sound for the 1990s and beyond.The book brims with behind-the-scenes anecdotes. Burlingame examines the decades-long controversy over authorship of the Bond theme; how Frank Sinatra almost sang the title song for Moonraker; and how top artists like Shirley Bassey, Tom Jones, Paul McCartney, Carly Simon, Duran Duran, GladysKnight, Tina Turner, and Madonna turned Bond songs into chart-topping hits. The author shares the untold stories of how Eric Clapton played guitar for Licence to Kill but saw his work shelved, and how Amy Winehouse very nearly co-wrote and sang the theme for Quantum of Solace.New interviews with many Bond songwriters and composers, coupled with extensive research as well as fascinating and previously undiscovered details--temperamental artists, unexpected hits, and the convergence of great music and unforgettable imagery--make The Music of James Bond a must read for 007buffs and all popular music fans. This paperback edition is brought up-to-date with a new chapter on Skyfall.

    The fifty-year career of John Ford (1895-1973) included six Academy Awards, four New York Film Critics' Awards, and some of our most memorable films, among them The Informer (1934), The Grapes of Wrath (1940), The Quiet Man (1952), The Long Gray Line (1955), and The Wings of Eagles (1957). In addition, the name John Ford was practically synonymous with the great Westerns that came out of Hollywood for many years-- Stagecoach (1939), She Wore a Yellow Ribbon (1949), Rio Grande (1950), The Searchers (1956), and The Man Who Shot Liberty Valance (1962), for example. After his death a European newspaper mourned ford as "the creator of the Western," although many of his finest films were far removed from that genre. Combining interviews with John Ford with his own reflections, director Peter Bogdanovich captures both the artist and the man in a highly readable, compact book that will please film lovers and Ford admirers alike. Over a hundred stills are included, along wit hthe most completed filmography yet compiled for John Ford.

    It is a newly-christened approach within psychology that takes seriously the examination of that which makes life most worth living. Everyone's life has peaks and valleys, and positive psychology does not deny the valleys. Its signature premise is more nuanced, but nonetheless important: what is good about life is as genuine as what is bad and, therefore, deserves equal attention from psychologists. Positive psychology as an explicit perspective has existed onlysince 1998, but enough relevant theory and research now exist to fill a textbook suitable for a semester-long college course.A Primer in Positive Psychology is thoroughly grounded in scientific research and covers major topics of concern to the field: positive experiences such as pleasure and flow; positive traits such as character strengths, values, and talents; and the social institutions that enable these subjects aswell as what recent research might contribute to this knowledge. Every chapter contains exercises that illustrate positive psychology, a glossary, suggestions of articles and books for further reading, and lists of films, websites, and popular songs that embody chapter themes.A comprehensive overview of positive psychology by one of the acknowledged leaders in the field, this textbook provides students with a thorough introduction to an important area of psychology.

    They are unique to the individual and no two persons can ever experience the same dream. Or so Doctor Charlotte Henson thought when she started treating the enigmatic and charming Michael. From the best-selling author of The Undead Series comes a gut wrenching tale of twisted and brutal imaginings, a sickening exploration of the depravity the mind can force on a person...The Second Reality.... "He has created a whole new world" "It has some fantastic battle scenes, up there with the Undead ones" "Haywood paints such a clear picture of the scenes and characters in your mind and the relationships between them is brilliantly done." "the story and eloquence in its telling are inspirational." "absolutely loved the story had me hooked from chapter one it has a maturity which I was surprised at" Warning: This book contains graphic scenes of both a violent and sexual nature and is intended for adults.

    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.

    In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.

    For millions of viewers, the "Star Wars" epic presents a special vision that incorporates the wisdom and symbols of age-old myths in dynamic new ways that speak uniquely and unforgettably to our modern-day quest for meaning. Using hundreds of illustrations, "Star Wars: The Magic of Myth" presents the relationship between the creation of the movie trilogy and the mythic structure on which it is based. Here is a rich, detailed, and fascinating account of how characters, costumes, and settings were modeled on some of the most powerful imagery from the realms of history, myth, and the imagination. Incorporating elements from Greek mythology to Flash Gordon, "Star Wars" is not only entertainment in its grandest form but, like all great myths, a limitless source of imagery, insight, and universal emotion.

    Starting from the premise that ‘everything has meaning’, the films’ ostensible narrative content and formal procedures are analysed to reveal a rich proliferation of ideological and psychical mechanisms at work. But Hitchcock is here to lure the reader into ‘serious’ Marxist and Lacanian considerations on the construction of meaning. Timely, provocative and original, this is sure to become a landmark of Hitchcock studies.

    Siegfried Kracauer--a prominent German film critic and member of Walter Benjamin's and Theodor Adorno's intellectual circle--broke new ground in exploring the connections between film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer's pioneering book, which examines German history from 1921 to 1933 in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel, has never gone out of print. Now, over half a century after its first appearance, this beautifully designed and entirely new edition reintroduces Kracauer for the twenty-first century. Film scholar Leonardo Quaresima places Kracauer in context in a critical introduction, and updates the book further with a new bibliography, index, and list of inaccuracies that crept into the first edition. This volume is a must-have for the film historian, film theorist, or cinema enthusiast.In From Caligari to Hitler, Siegfried Kracauer made a startling (and still controversial) claim: films as a popular art provide insight into the unconscious motivations and fantasies of a nation. In films of the 1920s, he traced recurring visual and narrative tropes that expressed, he argued, a fear of chaos and a desire for order, even at the price of authoritarian rule. The book has become an undisputed classic of film historiography, laying the foundations for the serious study of film.Kracauer was an important film critic in Weimar Germany. A Jew, he escaped the rise of Nazism, fleeing to Paris in 1933. Later, in anguish after Benjamin's suicide, he made his way to New York, where he remained until his death in 1966. He wrote From Caligari to Hitler while working as a "special assistant" to the curator of the Museum of Modern Art's film division. He was also on the editorial board of Bollingen Series. Despite many critiques of its attempt to link movies to historical outcomes, From Caligari to Hitler remains Kracauer's best-known and most influential book, and a seminal work in the study of film. Princeton published a revised edition of his Theory of Film: The Redemption of Physical Reality in 1997.

    Cited as an influence by such envelope-pushing directors as Spike Jonze and P. T. Anderson, Altman has created a genre all his own, notable for its improvised, overlapping dialogue and creative cinematography. One of the key moviemakers of the 1970s--commonly considered the heyday of American film--Altman's irrepressible combination of unorthodox vision and style is most clearly evidenced in the fourteen movies he released across that decade. By fine-tuning his talent in a diverse array of genres, including westerns, thrillers, and loopy, absurdist comedies--all subtly altered to fit his signature métier--he cemented his place as one of our most esteemed directors.In these conversations with David Thompson, Altman reflects on his start in industrial filmmaking, as well as his tenure in television directing Alfred Hitchcock Presents and Bonanza, and his big break in feature films as the director of the enormously popular M*A*S*H, a project for which he was the last possible resort behind fourteen other directors. The resulting portrait reveals a quixotic man whose films continue to delight and challenge audiences, both in the United States and beyond.