Spirited Away, directed by the veteran anime film-maker Hayao Miyazaki, is Japan’s most successful film, and one of the top-grossing ‘foreign language’ films ever released.  Set in modern Japan, the film is a wildly imaginative fantasy, at once personal and universal.  It tells the story of a listless little girl who stumbles into a magical world where gods relax in a palatial bathhouse; where there are giant babies and hard-working soot sprites, and where a train runs across the sea. Andrew Osmond’s insightful study describes how Miyazaki wrote, storyboarded and directed Spirited Away with a degree of creative control undreamt of in most popular cinema, using the film’s delightful, freewheeling visual ideas to explore issues ranging from personal agency and responsibility to what Miyazaki sees as the lamentable state of modern Japan.  Osmond unpacks the film’s visual language, which many Western (and some Japanese) audiences find both beautiful and sometimes bewildering.  He traces connections between Spirited Away and Miyazaki’s prior body of work, and provides an account of the film’s production and the creative differences between Miyazaki and his collaborators, arguing that Spirited Away uses the cartoon medium to create a compellingly immersive drawn world.

    TARDIS Eruditorum tells the ongoing story of Doctor Who from its beginnings in the 1960s to the present day, pushing beyond received wisdom and fan dogma to understand that story not just as the story of a geeky sci-fi show but as the story of an entire line of mystical, avant-garde, and radical British culture. It treats Doctor Who as a show that really is about everything that has ever happened, and everything that ever will. This volume focuses on the earliest years of the program, looking at how it emerged from the existing traditions of science fiction in the UK and how it quickly found its kinship with the emerging counterculture of the 1960s. Every essay from the Hartnell era has been revised and expanded from its original form, and the eight new essays exclusive to the collected edition have been augmented by a further eleven, providing nineteen book-exclusive essays on topics like what happened before An Unearthly Child, whether the lead character's name is really Doctor Who, and how David Whitaker created the idea of a Doctor Who novel. Plus, you'll learn: How acid-fueled occultism influenced the creation of the Cybermen. Why The Celestial Toymaker is irredeemably racist. The Problem of Susan Foreman

    Full description

    There's no need to panic. This is your chance to get inside the world of Sarah Lund: from the characters, the plot holes, and the politics to the language and dating the Danish way. So if you've ever wondered who cut the CCTV wire outside Lund's apartment in season one, why Morten went so far to protect Troels, where you can start your walking tour of Copenhagen from woods to warehouses and the County Hall, or even how you can knit your own Lund jumper—this is the book for you. Written by a true superfan, this is a hilarious guide to everything you're going to need to pretend you are Danish, bone up on everything suspicious, and transform yourself into Sarah Lund herself.

    The volume also includes two contemporary and conflicting reviews by Roger Hughes and Pauline Kael, a detailed glossary of nadsat and reproductions of stills from the film.

    Discover hidden stories behind movies you love (and, er, don't love so much), and find out just why the most dangerous place to be is in a Tom Hanks film.Fascinating, surprisingly and hugely entertaining, this leftfield movie guide is gold for film buffs, and might just bring out the geek - hidden or otherwise - within you...Includes:Alternative movie endings that were binned Movie sequels you didn't know existedMassive box office hits that were huge gamblesThe collateral damage of Tom Hanks moviesHidden subtexts in family moviesDisastrous things that went wrong on modern movie sets...and much, much more!

    Completely original material by the show's writers references events in the show as well as giving character backstory and brand new stories about Will, Simon, Jay, and Neil. Readers should expect lots of rude words, lots of photos, and lots of pissing themselves laughing.

    . . exploding. But where did Japanese animation come from, and what does it all mean? Written for fans, culture watchers, and perplexed outsiders, this is an engaging tour of the anime megaverse, from older arts and manga traditions to the works of modern directors like Miyazaki and Otomo. Read about anime standbys like giant robots, samurai, furry beasts, high school heroines, and gay/girl/fanboy love—even war and reincarnation, plus all of anime’s major themes, styles, and conventions. At the end of the book are essays on 15 of fandom’s favorite anime, including Evangelion, Esca-flowne, Sailor Moon, and Patlabor."A good resource and guide to the foundation, historical development and overall themes in Japanese animation and serves as an excellent reference source whether you are an established fan or a person who wants to learn about the cultural aspects of this specific and increasingly popular genre. It is an easy yet thorough read on the myriad of societal aspects and cultural references Japanese animation holds." -- Active Anime

    As the mystery of “Who Killed Laura Palmer?” played out on television sets across the world, another compelling drama was unfolding in the everyday lives of the show’s cast and crew. Twenty-five years later, Reflections goes behind the curtain of Twin Peaks and documents the series’ unlikely beginnings, widespread success, and peculiar collapse. Featuring first-hand accounts from series cocreator Mark Frost and cast members including Kyle MacLachlan, Joan Chen, Sherilyn Fenn, Piper Laurie, Michael Ontkean, Ray Wise, Billy Zane, and many more – Reflections explores the magic and mystique of a true television phenomenon, Twin Peaks.

    Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure.Baudrillard uses the concepts of the simulacra—the copy without an original—and simulation. These terms are crucial to an understanding of the postmodern, to the extent that they address the concept of mass reproduction and reproduceability that characterizes our electronic media culture.Baudrillard's book represents a unique and original effort to rethink cultural theory from the perspective of a new concept of cultural materialism, one that radically redefines postmodern formulations of the body.Sheila Glaser is an editor at Artforum magazine.

    One of punk rock's foundational documents, the archetype for indie obsession and all but disowned by its author, The Modern Lovers was an album doomed by its own coolness from day one. Powered by the two-chord wonder “Roadrunner” and its proclamation that “I'm in love with rock 'n' roll,”The Modern Lovers is the essential document of American alienation, an escape route from the cultural wasteland of postwar suburbia. The Modern Lovers is the bridge connecting the Velvet Underground and the Sex Pistols; they were peers of the New York Dolls and friends with Gram Parsons and they would splinter into Talking Heads, The Cars, and The Real Kids.But The Modern Lovers was never meant to be an album. A collection of demos, recorded in fits and starts as Jonathan Richman and his band negotiate modernity and the music industry. It is a collection of songs about a city and a society in flux, grappling with ancient corruptions and bright-eyed idealism. Richman observes a city all but abandoned by adults, ravaged by white flight and urban renewal, veering towards anarchy as old world social moors collide with new attitudes. It is a city stands in stark contrast to the the ranchstyle bedroom community where he was raised. All of these conflicts are churned through Richman's intellectual acuity and emotional unrest to create one of the 20th century's most enduring documents of post-adolescent malaise.

    This detailed filmography covers these and 225 more. Section One provides an introduction and a brief history of the decade. Beginning with 1970 and proceeding chronologically by year of its release in the United States, Section Two offers an entry for each film. Each entry includes several categories of information: Critical Reception (sampling both '70s and later reviews), Cast and Credits, P.O.V., (quoting a person pertinent to that film's production), Synopsis (summarizing the film's story), Commentary (analyzing the film from Muir's perspective), Legacy (noting the rank of especially worthy '70s films in the horror pantheon of decades following). Section Three contains a conclusion and these five appendices: horror film cliches of the 1970s, frequently appearing performers, memorable movie ads, recommended films that illustrate how 1970s horror films continue to impact the industry, and the 15 best genre films of the decade as chosen by Muir.

    From John Hughes' early films, to the cheerleaders of Bring It On, the films and their characters deal with sex and gender relations, presenting a picture of the hidden life of teenagers. Hit teen films can also promote products, launch bestselling soundtrack albums, and be career-makers for young actors. Kaveney also shows how the teen genre has absorbed classic material in the case of Clueless, has made up gender etiquette manuals like American Pie, and how teen films and TV series deal with the tragic and comic undersides of the American dream.

    But then, matrimony came along and politics suddenly felt like the non-essential elaichi in this Mughlai Biryani called life. When my ‘loved ones’ subjected me to scenarios unimaginable, when as the groom I had to wait for an hour for my baaraat to arrive, when certain ‘rituals’ scarred me with shame for the rest of my life, I so wanted to give it back to the society! And hence, ‘Lehengey and Lafdey’ was born. LnL will raise your ire, tickle your funny bone, and show you everything except what a wedding is supposed to be: a sacred union. In a world filled with romantic novels, where love always wins in the end; patience, perseverance and the insane ability to bear a butt load of crap is required to emerge victorious in the holy war of matrimony. Enough talk! Jump right in and witness a whirlpool of emotions, with a cup of masala chai and some fryums on the side. Put your seat belts on, for it is going to get crazy. Welcome to the world of Lehengey and Lafdey!

    Few others can offer such a remarkable insight into life at Anfield from Shankly to Houllier and beyond. Born in Liverpool in 1954, Phil later moved to his spiritual home of Kirkby where his footballing abilities were soon noticed and he quickly acquired a range of schoolboy honours before signing professional forms for his beloved Reds in 1971.As he staked a claim for a first-team place, Kop messiah Bill Shankly would memorably declare: “Aye, Phil Thompson. The boy tossed up with a sparrow for his legs and lost!”Shanks, however, was in no doubt about the young Thommo’s qualities and Phil would go on to claim a host of Anfield honours including seven League Championships, three European Cups, two League Cups and an FA Cup.The proudest moment of his footballing life came in 1981 when he led the Reds to a third European Cup with a 1-0 defeat of Real Madrid in Paris, later parading the trophy at his local pub, The Falcon.He left the Reds after winning 42 England caps before returning to Anfield in a coaching capacity under Liverpool player manager Kenny Dalglish.Despite being controversially sacked by Reds boss and former teammate Graeme Souness in 1992, he sensationally returned to Anfield as Gerard Houllier’s right-hand man in 1998, going on to revive the glory days by claiming a famous treble of trophies in 2001.Coming full circle and happy to be a fan again, he shared in the joy of the Reds’ 2005 Champions League triumph in Istanbul – as highlighted during remarkable scenes on SKY TV.