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Hazell K: Everyone's Seen My Tits

Everyone's Seen My Tits

This showcases the production art, character and vehicle designs, planets, storyboards, and other breathtaking work created during the production of the hit Disney+ series.

The Art of Star Wars: The Acolyte

Through a re-examination of the theoretical study of time and embodiment, this collection proposes an innovative new discourse in which to situate film. Each of its essays, written by a host of renowned international scholars, demonstrate the embodiment of time to be a vital part of the aesthetic experience of cinema. Analysing a broad range of films such as Beasts of the Southern Wild (USA, 2012), Talk to Her (Spain, 2002), Millennium Actress (Japan, 2001), Jab Tak Hai Jaan (India, 2012), and Jinpa (China, 2018), they each draw specific attention to moments of change and transformation, so as to explore how films operate as dynamic carriers of social meaning. Contributors examine key questions of embodied time as represented on screen; as a way of rethinking the centrality of the individual, of depicting gendered differences, of decentring western perspectives to consider embodied time in a widened global context, and as a way of expanding what embodiment means in post-human narratives. In doing so, this study not only highlights specific discourses of radical, lived experience in film, but also considers how distinctions of race and class, gender and sexuality, migration, religion, and indigeneity affect these depictions of embodied subjectivity.

Time and the Cinematic Body

Radical Embodiment on Film

What does feminist filmmaking in the 21st century look like? This book assesses the influence of Western feminist theory on contemporary film and television - nearly fifty years after Claire Johnston and Laura Mulvey called for a feminist counter-cinema - highlighting the cross-fertilization between feminist film theory and practice. Is there a #Metoo genre? Have traditional Hollywood genres been reframed? How has intersectional feminist film theory been explored on screen? In essays spanning film and television in a broad range of genres from the US, the UK and India, contributors renew definitions of feminist filmmaking since second wave feminist film scholars first grappled with the image of women in film and the role of women in the film industry. Feminist Visions provides an insightful space for discussion of feminist film theory as applied to recent TV series such as Devious Maids (2013-2016), Unbelievable (2019), Greenleaf (2016-2020), I May Destroy You (2020) and Insecure (2016-2021) and films including Maid in Manhattan (2002), Night Moves (2014), Gone Girl (2014), I Care a Lot (2020) and The Discreet Charm of the Savarnas (2020).

Theory in Practice in Contemporary Film and Television

Feminist Visions

At some point between living alone and becoming single, Hwang Sunwoo and Kim Hana found each other, and decided to live together in a nice apartment where their four cats would finally have the freedom to run around. Together they became a family - and redefined it. At a time housing costs have skyrocketed whilst the birth rates plummets, these two independent Korean women in their late forties share their views on society and its expectations of them. And, intent neither to marry or to live alone, they reflect on the comfort of their cohabiting friendship as it blossoms into a life full of joy and meaning. From housing insecurity and access to health care, to solo dining and stigmatised cat ladies, the loaded, self-sacrificing demands of filial piety and obligations to in-laws, TWO WOMEN LIVING TOGETHER impugns social scripts by spelling them out plainly. But also, and especially, by showing what it's like to choose differently. Quietly radical, full of warmth and wit, WOMEN LIVING TOGETHER celebrates carving out your own path, cats, female friendship, and a different kind of family.

Two Women Living Together

Fake News, True Story

My Memories Of Public Image Ltd

POPTOME

And Other Male Failures

Broken Biscuits

Before Anna Delvey, before the Tinder Swindler, there was 'Hipster Grifter' Kari Ferrell

You'll Never Believe Me

Friends and Lovers, Freedom and War

A Vast Horizon

A collection of deeply personal conversations from award-winning actress and activist Laura Dern and the woman she admires most, her mother-legendary actress Diane Ladd-that take readers on an intimate tour of their lives, sharing their most honest conversations on love, life, success, and everything in between.

LAURA DERN AND HER MOTHER DIANE LADD TALK LIFE, DEATH, LOVE (AND BANANA PUDDING)

Honey, Baby, Mine

While there are many guides to screenwriting, none of them tackle the specific difficulties of writing the tricky mid-section of the screenplay. The Heart of Your Script reveals the six key elements that are crucial for ensuring an emotionally satisfying and dramatically engaging center to any script. Using a broad range of concise case studies, including contemporary films such as Aftersun (2022), The Whale (2022), Shoplifters (2018), Talk to Me (2022), Barbie (2023) and Oppenheimer (2023), canonical texts such as Back to the Future (1985), Seven Samurai (1954) and There Will Be Blood (2007) and cult classics like Swiss Army Man, (2016), Jennifer's Body (2009) and Heathers (1988), Ted Wilkes and Phil Hughes provide helpful tips and tricks to assist writers in finding out what is at the heart of the story they want to tell and how to ensure that it is coming through in their stories. Refusing any single method for structuring this central portion, Wilkes and Hughes offer a character-centred study, which allows aspiring screenwriters to map their dramatic journey from the inside out.

The Insider’s Guide to Writing the Difficult Middle Section of a Screenplay

The Heart of Your Script

World Cinema

Departing from standard histories, this book draws on the theory of excess in film to provide a re-examination of Polish cinema history, following emancipatory impulses that emerged in Polish culture between the great crisis of 1968-marked by the expulsion of Polish Jews and persecution of students-and the conservative revolution of the Solidarity movement in the 1980s. Employing a transnational and decolonial lens, Sebastian Jagielski argues that beyond the binary of state-endorsed and official 'opposition' media, there exists a range of subversive and radical films. He provides close readings of key examples such as The Devil (Diabel)(1972), A Story of Sin (Dzieje grzechu)(1975) and The Palace (Palac)(1980), considering their depiction and transformation of emancipatory ideals born out of Western countercultural movements. He also explores the filmmaking practices of directors like Andrzej Wajda to Andrzej Zulawski, examining their use of subtext, seemingly lurid narratives and subversive embedded gestures, produced against the backdrop of Communist Poland's censorship practices. In doing so he proposes a critical revision of the normative cinema of moral anxiety. He goes on to consider how on screen depictions of sexuality intersect with various modes of difference, highlighting the impact of racism, homophobia, misogyny, and classism. Rejecting a linear narrative in favour of a fragmented history, Jagielski uncovers the untold stories of Polish cinema's subversive influences.

The Politics of Excess in Polish Cinema

Everyone's Seen My Tits

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