Bøker utgitt av Bloomsbury Academic

Endlessly fascinating, dark and bright, The Red Shoes (1948) employs every branch of the cinematic arts to sweep the audience off its feet, invigorated by the transcendence of art itself, only to leave them with troubling questions. Representing the climax of Michael Powell and Emeric Pressburger's celebrated run of six exceptional feature films, the film remains a beloved, if unsettling and often divisive, classic.Pamela Hutchinson's study of the film examines its breathtaking use of Technicolor, music, choreography, editing and art direction at the zenith of Powell and Pressburger's capacity for 'composed cinema'. Through a close reading of key scenes, particularly the film's famous extended ballet sequence, she considers the unconventional use of ballet as uncanny spectacle and the feminist implications of the central story of female sacrifice.Hutchinson goes on to consider the film's lasting and wide-reaching influence, tracing its impact on the film musical genre and horror cinema, with filmmakers such as Joanna Hogg, Sally Potter, Martin Scorsese and Brian De Palma having cited the film as an inspiration.

Mean Streets was Martin Scorsese's third feature film, and the one that confirmed him as a major new talent. On its premiere at the New York Film Festival in 1973, the critic Pauline Kael hailed the film as 'a true original of our period, a triumph of personal film-making'. The tale of combative friends and small-time crooks is set amid the bars, pool halls, tenements and streets of Manhattan's Little Italy. Scorsese has said of his childhood neighbourhood, 'its very texture was interwoven with organised crime', and this quality would dramatically inform the tone and restless energy of his seminal film.Demetrios Matheou's insightful study considers Mean Streets' production history in the context of the New Hollywood period of American cinema, noting also the key roles played by John Cassavetes and Roger Corman. He analyses the importance of Scorsese's background to the film's characters and themes, including preoccupations with guilt, redemption and criminal subcultures; the development of the director's film-making process and signature style; the way in which he both drew upon and invigorated the crime genre; his relationship with emerging stars Robert De Niro and Harvey Keitel, and the film's reception and legacy. Matheou argues that while Taxi Driver (1976) and Raging Bull (1980) are regarded as Scorsese's greatest films of the period, Mean Streets is the more influential achievement. With it, Scorsese not only paved the way for a new kind of crime movie, not least his own GoodFellas (1990), but also inspired generations of independently-minded film-makers.

The Pensions Law Handbook is the definitive guide to pensions law and practice in the UK.Outlining the main responsibilities of key personnel in the operation and governance of occupational pensions, it provides guidance through the complex web of pensions-related statutes, regulations, regulatory guidance and case law. The 16th Edition covers: - Changes to the lifetime allowance announced in the Spring Budget 2023 - The Pension Schemes Act 2021 (including new powers for the Pensions Regulator)- Updated chapters on winding-up and tax - New content on master trusts and de-risking This is an indispensable text for pensions lawyers and consultants, accountants, HR professionals and managers of pensions fund trusts.This title is included in Bloomsbury Professional's Pensions Law online service.

Wild Track is an exploration of birdsong and the ways in which that sound was conveyed, described and responded to through text, prior to the advent of recording and broadcast technologies in the late 19th and early 20th centuries. Street links sound aesthetics, radio, natural history, and literature to explore how the brain and imagination translate sonic codes as well as the nature of the silent sound we "hear" when we read a text. This creates an awareness of sound through the tuned attention of the senses, learning from sound texts of the natural world that sought - and seek - to convey the intensity of the sonic moment and fleeting experience. To absorb these lessons is to enable a more highly interactive relationship with sound and listening, and to interpret the subtleties of audio as a means of expression and translation of the living world.

How does a reader learn to read an unfamiliar genre? The Novel in Nineteenth-Century Bengal answers this question by looking at the readers of some of the first Bengali novelists, including Bankimchandra Chattopadhyay and Mir Mosharraf Hossain. Moving from the world of novels, periodicals, letters, and reviews to that of colonial educational policies, this book provides a rich literary history of the reading lives of some of the earliest novel readers in colonial India. Sunayani Bhattacharya studies the ways in which Bengalis thought about reading; how they approached the thorny question of influence; and uncovers that they relied on classical Sanskrit and Perso-Arabic literary and aesthetic models, whose attendant traditions formed not a distant past, but coexisted, albeit contentiously, with the everyday present. Challenging dominant postcolonial scholarship, The Novel in Nineteenth-Century Bengal engages with the lived experience of colonial modernity as it traces the import of the Bengali reader's choices on her quotidian life, and grants access to 19th-century Bengal as a space in which the past is to be found enmeshed with the present.

Since long before the age of celebrity activism, literary authors have used their public profiles and cultural capital to draw attention to a wide range of socio-political concerns. This book is the first to explore - through history, criticism and creative interventions - the relationship between authorship, political activism and celebrity culture across historical periods, cultures, literatures and media. It brings together scholars, industry stakeholders and prominent writer-activists to engage in a conversation on literary fame and public authority. These scholarly essays, interviews, conversations and opinion pieces interrogate the topos of the artist as prophet and acute critic of the zeitgeist; analyse the ideological dimension of literary celebrity; and highlight the fault lines between public and private authorial selves, 'pure' art, political commitment and marketplace imperatives. In case studies ranging from the 18th century to present-day controversies, authors illuminate the complex relationship between literature, politics, celebrity culture and market activism, bringing together vivid current debates on the function and responsibility of literature in increasingly fractured societies.

Teen pop is a sub-genre of popular music marketed to tweens and teens. Its melodic yearning and veneer of sincerity appeal to an emerging romantic eroticism and autonomy. But tweens and teens buy music that isn't primarily marketed to them, too. Teen pop encompasses several kinds of musical styles, not limiting itself to just one-teen pop wants to play. During the 1970s, teen pop sometimes worked subversively, challenging the status quo it seemed to represent. Male pop stars such as David Cassidy were shown suggestively in popular magazines and female pop stars such as Cher had their own TV shows. Teen magazines, pin-ups, comics, films, and TV programs provided luscious visual stereo, promoting fashion styles, lingo, and dance moves, signaling individual identity but also community. The music provided a way for young people to believe they had something all their own, an authenticity experimenting with sexuality and social conduct, all dressed up in glitter and satin, blue jeans and boom boxes, torn fishnets and safety pins and, magically, their dreams. Cartoon pop and made-for-TV bands! Bubblegum pop! Glam! Hip hop! Hard rock and pop rock and stadium rock! Punk! Disco! Teen pop reinforced aspects of the counterculture it absorbed as the music kept playing-and playing back.Although it's very difficult to attain and maintain social progress and play it forward-there are so many tragedies-'70s Teen Pop examines how liberation and a true counterculture can be possible through music.

Susan M. Rieske presents an exploration of the phrase "this generation" and its central term, geneá, in the Gospel of Matthew. She investigates how it demonstrates the concept of two spiritual families: "this generation", who have persecuted God's servants throughout the ages, and the elect, the family of God. She provides an in-depth examination into how this contrast is part of a "wicked generation" motif that is evident in Hebrew Bible texts as well as Second Temple and New Testament literature, and how knowledge of this motif can improve understanding of Matthew's theology.Rieske demonstrates how "this generation" invokes the familiar story of the redemptive historical conflict between the elect and non-elect seedlines traced back to Genesis. By examining seven key passages of Matthew, including Matthew 1:1-17 to explore the purpose of Matthew's genealogy and the missing generation, and Matthew 17:14-20 to illustrate the identity of geneá, Rieske suggests that Matthew's Gospel is the contemporary expression of this longstanding redemptive historical reality. She concludes that this motif serves to legitimize the messianic family as the true children of God and heirs of the kingdom while explaining the persecution they faced at the hands of "this generation."

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This book adopts a historical perspective to highlight, and bring back into focus, the key features of the modern company. A central argument in the book is that legal personhood attaching to an entity containing a corporate fund seeded by shareholders is a direct and inevitable consequence of limited liability and the company's status as a separate legal entity from its shareholders. Management by a board subject to legal duties to the company as an entity that can exist in perpetuity facilitates a long term perspective by the board that can accommodate both shareholder and stakeholder interests. These defining characteristics differentiate the modern company from other business forms.The Making of the Modern Company applies a 21st-century lens to the corporation through its history to identify turning points in its development. It sets out how key features emerged in the course of two separate developmental cycles in English corporate law: first with the English East India Company in the 17th century, and then with general incorporation statutes in the 2nd half of the 19th century. The book's historical perspective highlights that the key features are part of the 'secret sauce' of modern companies. Each cycle coincided with unparalleled periods of economic success associated with corporate activityThis book will be of interest to corporate law and governance academics, theorists and practitioners, those who study the company from related disciplines, and anyone who questions why uncertainty still exists about the structure of a legal form that has been described as 'amongst mankind's greatest inventions'.

Murray Pomerance's latest book explores an encyclopedic range of films and television shows to demonstrate the difficulty of conveying the experience of viewing cinema through words and the medium of text. From On the Waterfront to Marriage Story, Uncanny Cinema illuminates that words and writing are in perilous waters when applied to cinema, similar to ungestured talk. The book begins with this problem using Julian Jaynes's thoughts on vocality and imagination before delving into three exploratory 'movements' arranged to alternately challenge, inspire, and confound the reader to question if we know what we think we know or even see what we think we see. The viewer is faced with disturbances, ruptures, and surprises that occur during the viewing experience, which Pomerance analyzes to stretch the sense of what we do and do not (or, possibly, cannot) know, particularly as we think, talk, and write about cinema.

Bringing together philosophies of the maternal with digital technology may appear to be an arbitrary pairing. However, reading them intertextually through select creative practices reveals how both encompass an aesthetics of interruption that becomes a novel means of understanding subjectivity.EL Putnam investigates how the digital performances of certain artists, creators, and technologists rupture existing representations of the maternal, taking advantage of the formal properties of digital media. What results are interruptions of visual and aural constructions through an immanent merging of the performing body with digital technologies.Putnam bases her analysis on close examinations of the way certain makers use the formal properties of digital imagery, such as the gap, the glitch, and the lag, as means of rendering images of the maternal uncanny in order to challenge mediation, constituting an aesthetics of interruption. The result is a radical critical strategy for engaging with digital technology and subsequent understandings of the subject that defy current modes of assimilation.

Realism seems to be everywhere, both as a trending critical term and as a revitalized aesthetic practice. This volume brings together for the first time three aspects that are pertinent for a proper understanding of realism: its 19th-century aesthetics committed to making reality into an object of serious art; the experiments with and against realism by 20th-century modernist, postmodernist, or magical realist writing; and the politics of realism, especially its ambitions to map the complex realities produced by global capitalism and climate catastrophe. This juxtaposition of aesthetics, experiments, and politics unsettles the entrenched opposition between realism and experimental literature that tends to ignore the fact that realism, by virtue of its commitment to a changing material and social world, cannot be but continuously experimenting.The innovative chapters of this book address some of the pressing questions of literary and cultural studies today, like the complex relation between historical materialism and new materialisms, between science and art, or the different aesthetic and political affordances of making systemic analyses against depicting the specificity of the local. Some of the chapters deal with classically realist authors, such as George Eliot, Émile Zola, and Joseph Conrad, to gauge the aesthetic radicalism of their diverse realist projects. Others investigate the experimental engagements with realism by authors such as B.S. Johnson, J.M. Coetzee, or Rachel Cusk. Yet others, analyze the politics of realism found in contemporary anglophone novels by writers like Chimamanda Ngozi Adichie, David Mitchell, or Rohinton Mistry. The readings assembled here are a testament to the diversity of literary realism(s) from the 19th, 20th, and 21st centuries, and to the ongoing controversies surrounding definitions and deployments of "realism."

This collection of previously unpublished autobiographical and semi-autobiographical "snippets of experience" written by Svetlana Boym in the final period of her life capture her penchant for seamlessly melding, poetically and dream-like, the intensively personal with the everyday and the world-historical. They illuminate the formative conditions for the thinking which she was to develop into her majestic work on nostalgia.Importantly, these pieces fill in gaps in understanding the genesis and scope of her take on the world. For readers both familiar with her work and for those new to it, The Origins of Nostalgia will enable our own cultural past as well as that of the former Soviet Union to be viewed in a different light.

The Politics of Literary Prestige provides the first comprehensive study of prizes for Spanish American literature. Covering state-sponsored and publisher-run prizes including the Biblioteca Breve Prize - credited with launching the 'Boom' in Spanish American literature - the Premio Cervantes and the Nobel Prize for Literature, this book examines how prizes have underpinned different political agenda. As new political positions have emerged so have new awards and the role of the author in society has evolved. Prizes variously position the winners as public intellectual, spokesperson on the world stage or celebrity in the context of an increasingly globalized literature in Spanish. Drawing on a range of sources, Sarah E.L Bowskill analyses prizes from the perspective of different stakeholders including states, publishers, authors, judges and critics. In so doing, she untangles the inner workings of literary prizes in Spanish-speaking contexts, proposes the existence of a prizes network and demonstrates that attitudes to cultural prizes are not universal but are culturally determined.

The Classical Animated Documentary and Its Contemporary Evolution is the first book to provide an historical insight into the animated documentary. Drawing on archival research and textual analysis, it shows how this form, usually believed to be strictly contemporaneous, instead took shape in the 1940s. Cristina Formenti integrates a theoretical and a historical approach in order to shed new light on the animated documentary as a form as well as on the work of renowned studios such as The Walt Disney Studios, Halas & Batchelor, National Film Board of Canada and never before addressed ones, such as Corona Cinematografica. She also highlights the differences and the similarities existing among the animated documentaries created between the 1940s and the mid-1980s and those produced today so as to demonstrate how the latter do not represent a complete otherness in respect to the former, but rather an evolution.

The beautiful Austrian-born Romy Schneider was one of Europe's most popular film stars and a cult figure from the moment she played 'Sissi' (Empress Elisabeth of Austria) in the hugely popular Sissi trilogy in the mid-1950s. Although Schneider died in 1982, she continues to be one of the most popular stars in European cinema history. This book analyses her impressive career to place her within a range of European female stars, particularly Germanic and French, who defined cultural and ideological images of femininity on European screens. Schneider, who worked and was celebrated in Austria, Germany, Hollywood, and France, represents a fascinating case study to explore key questions of trans-European and transnational stardom, and Marion Hallet makes a valuable intervention in this growing field within star studies. Romy Schneider: A Star Across Europe shows how the representations of women stemming from Schneider's star image supported specific and shifting cultural and social agendas regarding femininity, from the 1950s to the 1980s. This book explores the significance of Schneider's image both when she was working and since, within Western European film culture and celebrity culture.

Graphic narratives are one of the world's great art forms, but graphic novels and comics from Europe and the United States dominate scholarly conversations about them. Building upon the little extant scholarship on graphic narratives from the Global South, this collection moves beyond a narrow Western approach to this quickly expanding field. By focusing on texts from the Middle East, Africa, Latin America, and Asia, these essays expand the study of graphic narratives to a global scale. Graphic Novels and Comics as World Literature is also interested in how these texts engage with, fit in with, or complicate notions of World Literature. The larger theoretical framework of World Literature is joined with the postcolonial, decolonial, Global South, and similar approaches that argue explicitly or implicitly for the viability of non-Western graphic narratives on their own terms. Ultimately, this collection explores the ways that the unique formal qualities of graphic narratives from the Global South intersect with issues facing the study of international literatures, such as translation, commodification, circulation, Orientalism, and many others.

Between light and shadow, science and superstition, fear and knowledge is a dimension of imagination. An area we call the Twilight Zone.Adapted by Anne Washburn (Mr Burns) and directed by Olivier Award-winner Richard Jones, this world premiere production of the acclaimed CBS Television Series The Twilight Zone lands on stage for the first time in its history. Or its present. Or its future.Stage magic and fantasy unite as the ordinary becomes extraordinary.

By re-examining Nietzsche's notion of the "eternal-feminine" and his views on women and feminism, this volume offers new perspectives on some of his key ideas. It brings together a diverse group of scholars tocritically engage with Nietzsche's use of late-19th-century gender stereotypes and the ways in which they served his critique of values, including his use of "woman" as a trope for truth. Among other subjects, the contributors consider the role of psychology in Nietzsche's thought, his concern with style, self-creation, and advocacy of perfectionism, his views on romantic love and marriage, and his aim of revaluing all values to instigate a distant philosophy of the future. They investigate parallels between Nietzsche's thought and Shaktism, his relation to Goethe and Stendahl, and his influence on Beauvoir, Butler, and Dohm. With the inclusion of two seminal essays on Nietzsche and women by Lawrence J. Hatab and Kelly Oliver, the volume also illustrates some of the ways in which scholarship on these subjects has evolved over the last four decades. Providing fresh insights into these inter-related subjects, Nietzsche on Women and the Eternal-Feminine highlights the enduring relevance of his thought and its still-underappreciated potential for re-thinking both the bases for and aims of feminism and other emancipatory movements.

Discussing marginality from an analytic perspective and drawing on canonical theories by a diverse set of authors, such as Dilthey, Collingwood, Wittgenstein, Foucault, John McDowell, Susan Carey, Michael Tomasello, and Chris Frith, this book is an important contribution to ongoing debates on marginality among psychiatrists, psychologists, social scientists, and philosophers.Psychology often resorts to overambitious theorizing due to a perceived pressure to justify its scientific credentials. Taking the cases of preverbal children and mentally ill patients, George Tudorie illustrates that applying overarching and unifying explanations to marginal subjects is problematic, arguing instead that those at the margins should be given their proper explanatory autonomy.Tudorie examines recent cognitive theories on early development in children to reveal the difficulties of conceptualising the emergence of human abilities, while also demonstrating how cognitive accounts of psychosis, built around the typical concepts of 'belief-desire-intention' psychology, eventually falter. In doing so, he reveals that interpretation is not a route psychology can take at the margins, and calls for a clearer view of explanatory options in marginal cases.

Based on readings of some of the leading literary voices in contemporary Irish writing, this book explores how these authors have engaged with the events of Ireland's recent economic 'boom' and the demise of the Celtic Tiger period, and how they have portrayed the widespread and contrasting aftermaths. Drawing upon economic literary criticism, affect theory in relation to shame and guilt, and the philosophy of debt, this book offers an entirely original suit of perspectives on both established and emerging authors. Through analyses of the work of writers including Donal Ryan, Anne Haverty, Claire Kilroy, Dermot Bolger, Deirdre Madden, Chris Binchy, Peter Cunningham, Justin Quinn, and Paul Murray, author Eóin Flannery illuminates their formal and thematic concerns. Paying attention to generic and thematic differences, Flannery's analyses touch upon issues such as: the politics of indebtedness; temporality and narrative form; the relevance of affect theory to understandings of Irish culture and society in an age of austerity; and the relationship between literary fiction and the mechanics of high finance. Insightful and original, Form, Affect and Debt in Post-Celtic Tiger Irish Fiction provides a seminal intervention in trying to grasp the cultural context and the literature of the Celtic Tiger period and its wake.

From the emergence of department stores in the late 19th century to the financial disasters of the years following the end of World War I, the history of large-scale retailing in Germany was dominated by a pioneering generation of German-Jewish entrepreneurs who found fortune and influence only to have their livelihoods taken by Hitler and the Nazis in the 1930s.Drawing on a range of archival sources and private collections, The Kaiser, Hitler and the Jewish Department Store reveals how, contrary to Nazi claims, Jewish-owned department stores were decent employers, popular with customers, and well integrated into the economy. In fact, such institutions were so integral to German society that, when Hitler came to power in 1933, the Nazis were forced to abandon their pledge to abolish them. As this revelatory history argues, the end of the Jewish-run store cannot solely be attributed to the rise of antisemitism: it was also the consequence of financial mismanagement and the indifference of the German people.John F. Mueller reveals the German-Jewish department store as a powerful force in society and politics as well as a leader in architecture and design. His book challenges common assumptions about the relationship between consumer culture, the German-Jewish business community and the rise of Nazism, providing fresh insights into the social history of modern Germany.

"This book uncovers the changing artistic landscape of Poland between the 1920s and 1950s, through the work of Jewish-Polish painter and Holocaust survivor, Henryk Streng (Marek Wlodarski) (1903-1960). Extraordinary for his aesthetic innovation during the two major traumas of 20th-century European history, the Holocaust and Stalinism, Streng's work disrupted the established notions of 20th-century Polish art, while making the case for an internationalized history of European Modernism - as demonstrated by this book for the first time"--

Food Information, Communication and Education analyses the role of different media in producing and transforming knowledge about food. 'Eating knowledge', or knowledge about food and food practice, is a central theme of cooking classes, the daily press, school textbooks, social media, popular magazines and other media. In addition, a wide variety of actors have taken on the responsibility of informing and educating the public about food, including food producers, advertising agencies, celebrity chefs, teachers, food bloggers and government institutions. Featuring a range of European case studies, this interdisciplinary collection advances our understanding of the processes of mediatization, circulation and reception of knowledge relating to food within specific social environments. Topics covered include: popularized knowledge about food carried over from past to present; the construction of trustworthy knowledge in today's food risk society; critical assessment of nutrition education initiatives for children; and political and ideological implications of food information policy and practice.