Bøker utgitt av EDINBURGH UNIVERSITY PRESS

Uncovers the central and leading roles of women in the development of organised consumer activism in the UK and the USA between 1885 and 1920

As the spread of knowledge and even theory becomes an increasingly audiovisual affair, how can philosophy adapt in ways that develop - rather than dilute - philosophical rigour and specificity? How can philosophy harness the potential of audiovisual media - being more formally multidimensional than text-only - to conceptualise with greater precision and depth? Nilsson presents a theory of formal development of philosophy in this regard: a theory of cinecepts. While spanning film, media, art and critical theories, as well as philosophy, this study proceeds mainly through a close reimagination of Gilles Deleuze's work, which allows for a merging of what he kept separated: filmic thinking and philosophical conceptualisation. Jean-Luc Godard and Anne-Marie Miéville's underexplored 1970s Sonimage works are also extensively examined, along with critical considerations of a contemporary era of academic video essays and phenomena like philosophy channels on YouTube. Jakob A. Nilsson is Assistant Professor of Film Studies at Örebro University.

While few can deny its incalculable influence on popular filmmaking during and after World War II, film noir has been and remains one of the most contentious categories of cinema, providing more debate than consensus about what constitutes a noir. Liminal Noir in Classical World Cinema explores the amorphous parameters of this dark cinematic phenomenon by utilising an expanded, nuanced definition of film noir which reaches beyond traditional conceptions of genre, style and cycle to examine its complex international origins and issues of liminality. Through illuminating case studies of single films from Argentina, the former Czechoslovakia, France, Great Britain, Poland, Spain and the US, this collection consider elements of genre hybridity, border crossing, boundary breaching and other signifiers of liminality to reassess classical-era films that defy conventional generic and stylistic categorisation. Elyce Rae Helford is Professor of English at Middle Tennessee State University Christopher Weedman is Assistant Professor of English at Middle Tennessee State University

The first scholarly edition of Tea-Table Miscellany, a seminal collection in defining eighteenth-century Scottish song. This edition of The Tea-Table Miscellany brings together the four volumes of the collection of songs published between 1723 and 1737. The Tea-Table Miscellany combines traditional Scottish song and works by Allan Ramsay and his contemporaries with material from D'Urfey, Playford and the English stage and broadside in a collection of 399 songs. For the first time, annotations, background and a study of the origins of all the songs and tunes are compiled, examining both Ramsay's categorisation of the authorship and origin of the song texts and tunes to which it was most likely he was referring. This scholarly edition includes: - A detailed introduction - Clearly presented song texts and notes on the songs that identify both their print and musical antecedents - Musical illustrations that show major variations in the contemporary tunes with which the songs are associated - Illustrations of the title pages, and the main design features and ornaments used in Ruddiman's original edition Murray Pittock MAE FRSE is Bradley Professor and Pro Vice-Principal at the University of Glasgow, and Scotland's leading cultural historian. His publications include Scotland: The Global History (2022) and Enlightenment in a Smart City (2019). Brianna E. Robertson-Kirkland is the Music Research Associate on the 'The Edited Collection of Allan Ramsay' project and a Lecturer in Historical Musicology at the Royal Conservatoire of Scotland. Her publications include Venanzio Rauzzini and the Birth of a New Style in English Singing Scandalous Lessons (2022).

In Hammer Goes to Hell, Foster utilises never seen before materials held in the Hammer Script Archive to present a new perspective on one of Britain's most famous production studios. While Hammer Films has been extensively researched, the significant amount of creative and economic labour that went into over 100 unmade projects at the company have yet to be recognised accordingly. Using primary materials such as screenplays and correspondence, Hammer Goes to Hell examines the production contexts of an eclectic range of Hammer's unmade films, ranging from Nessie to Kali Devil Bride of Dracula. Using Hammer as a case study, this book represents a significant academic intervention by being the first sustained industry study to primarily use unmade projects. Offering a fresh perspective on this legendary film studio, Foster argues for the importance and sustained study of unmade films. Kieran Foster is a Teaching Associate in Film and Media Studies at the University of Nottingham.