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Without Empathy
Irony and the Satirical Impulse in Eight Major Filmmakers
Irony and the satirical impulse in cinema have gradually lost favor mockery increasingly more selective in its choice of targets. As Linda Hutcheon notes irony is becoming a problematic mode of expression in the 21st century.
The book examines selectively the work of eight film auteurs: Luis Bunuel RW Fassbinder Stanley Kubrick Robert Altman Paul Verhoeven Aki Kaurismaki Aleksei Balabanov and David Lynch much of whose work is not always regarded thus and the films examined are often more ironic than satirical.
The introduction examines the various categories of satire and the chapters then study the filmmakers individually through selected works offering interpretations of films and identifying a consistent approach. Since the work is often ambiguous the book speculates on each film’s purport engaging in textual interpretation of individual works to understand concerns underneath the most obvious. The Afterword tries to find common targets and strategies on the filmmakers’ part.

Well-Being and Creative Careers
What Makes You Happy Can Also Make You Sick
There is a well-documented mental health crisis among media professionals around the world - in journalism advertising/marketing/PR film and television digital games music (recording and performance) and online content creation.
This book documents what is particular about well-being in creative careers in the media offers an analysis of systemic issues throughout the media industries that explain why so many practitioners get sick on the job and shows what can be done. The health crisis in the media industry consists of mental issues – with extraordinary high instances of anxiety trauma burnout and depression; physical ailments - prevalent substance abuse unhealthy living sleep problems and exhaustion; and spiritual problems – including people experiencing moral injury at work and suffering from a loss of morale.
At the same time most media professionals claim to be happy doing what they do suggesting that what makes people happy can also make them sick. What ends up causing work-related stress disorders is a combination of a lack of reciprocity between what people bring to the job and what the industry offers in return organizational injustice as people perceive policies and decisions at work to be discriminatory and unfair and persistent high workloads.

Wild Renaissance
New Paradigms in Art, Ecology, and Philosophy
A Renaissance is underway. It can be seen as a response to environmental societal and ethical issues so acute that human survival is in question. Artistic philosophical and political it builds on the scientific revolutions of the last decades and positions itself in relation to technoscientific and transhumanist promises. Within this Wild Renaissance man no longer positions himself as master and owner imposing his will on a passive and purposeless nature. He makes ready to listen to a new partner: the world around him. He discovers the potential of its forces which he both harnesses and engages with joining them with his own. A new era is taking shape restoring man to his “wild” dignity and giving his existence meaning joy and ambition. An art is emerging that is redefining the paradigms of creation. Its work is in the vanguard of this societal project.
There is a major tendency in contemporary art and design and perhaps the most innovative one that is putting in place new ways of working and producing works which represent a significant break with the principles that have guided modernity up to the present. We are witnessing the beginnings of a renaissance that can be described as “wild.” Powerfully ambitious it stands as a response to the acute environmental societal and ethical questions raised in today’s world and at their heart the very survival of the human species as we enter the Anthropocene era. It bears witness to massive shifts in consciousness and echoes a call for a change that is becoming increasingly audible. Nature or more precisely a new way of being “wild” – that is to say of thinking and acting on the Earth is the key reference around which the contents of an alternative common destiny are being articulated. The “Wild Renaissance” is supplanting both the modernity that placed man at the center of the world assigning him the vocation of becoming the master and owner of nature and postmodernity which put an end to the great narratives and left only an absolute relativism incapable of supporting new sustainable models.
The word “renaissance” is not used lightly. It stems from a philosophical and ecological analysis of the turn of the 15th and 16th centuries in Italy. This upheaval did not come out of nowhere. Today as back then a period of some hundred and fifty yeas paved the way for its emergence. The proto-Wild Renaissance goes from the mid-19th century to the early 21st century. The evolution and convergence of art philosophy and the sciences of the environment can be observed there in relation to key historical and political moments that have repeatedly raised the question of the continuing habitability of the Earth.
The Wild Renaissance is articulated around a renewed vision of humankind and nature. Humankind no longer aspires to impose its will on a passive purposeless nature. Instead it is beginning to listen to a new partner: the world around it. Humanity is discovering the potential of these forces and entering into a relation with them allying them with its own. Humanity is going from from master to collaborator assuming an ecological responsibility that goes hand in hand with a revived dignity and an existence that is all the more exciting for all that. Already-established figures in contemporary art and design together with emerging creators are at the forefront of this new movement. The works and practices analyzed here are shown in a new light with a fresh understanding of their historical grounding conceptual underpinnings and significance for the present.
Previously published in French by Presses Universitaires de France (PUF).

Watch This Space
Exploring Cinematic Intersections Between the Body, Architecture, and the City
This book and its individual essays examine key emerging and evolving practices theories and methodologies that operate in the blurred boundary between spatial design disciplines such as architecture interior and urban design and film and moving image studies more broadly.
The collection is an exploration of the evolving interdisciplinary rhetoric connecting spatial design disciplines like architecture and urban design with film and moving image studies. It is premised on the argument that the understanding of ‘space’ in these areas continues to draw on each other’s fields of reference and that in recent times this has expanded further to the point in which it blurs with multiple other disciplines including media art cultural studies and art practice to name but three. The result of this evolving interdisciplinary understating of ‘space’ in design disciplines and moving image studies is an expanded field of haptic-visual practice and theory that can be investigated as both a material and an image-based construct.
It engages with this evolving set of ideas and underlines how each of its primary discipline areas now increasingly incorporate tools and methodologies from each other’s fields. For example architects routinely engage with cinematic practice as a means of exploring space cultural theorists inspect filmic space as a two-dimensional surrogate of the real media artists incorporate knowledge of spatial design in video installations and film makers create spaces on screen that are informed by architectural theory. This all follows what can be defined as a discursive turn in our view of spatial relationships across disciplines which by definition is complex eclectic occasionally contradictory and at times characterised by surprising confluences.
Conceived as a form of mapping of these confluences and contradictions this book collects varied essays that in their own unique ways explore the diversity of how we today define understand and engage with notions of the body in architectural-urban space. It does so through a triadic structure that progresses from haptic relationships of the body in architectural space through film readings of represented space in mainstream cinema and concludes with ‘experimental spatial’ projects inspired by film and the moving image. This tripartite structure specifically encourages a look across disciplines broadening architectural urbanist media and cinematic concerns through insightful case studies that engage with their subjects by means of novel techniques i.e. employing graphic software for an analysis of pre-digital films deconstructing cinematography in modernist classics or researching urban edgelands via collaging and montage etc.

World Film Locations: Los Angeles
Volume 2
World Film Locations: Los Angeles Volume 2 is an engaging and highly visual city-wide tour of both well known and slightly lesser known films shot on location in one of the birthplaces of cinema and the ‘screen spectacle’. It pairs 50 synopses of carefully chosen film scenes with evocative full-colour film stills.
When the World Film Locations series was launched in 2011 with volumes on Los Angeles New York Paris and Tokyo the world was a different place. Although interest in film locations has grown steadily for years as people seek to walk in the footsteps of their cinematic idols by visiting sites from their favorite movies – the recent global lockdown seems to have only increased an appetite for cinetourism; prompting us to consider a second volume for one of the world’s most evocative and enduring locations. The city of Los Angeles with its meandering sun-baked sweep and beautifully fractured topography continues to lure filmmakers into its clutches – affording an endless panoply of locations to prop up both character and story. Since 2011 thousands of new productions have made the most of what the city has to offer; using reusing and discovering places that will surely become sites of pilgrimage in years to come - and while this volume includes just 50 of them our modest selection is carefully curated to compliment volume 1 and further reveal both the well-known and more hidden parts of a Los Angeles in constant flux.
The heart of Hollywood’s star-studded film industry for more than a century Los Angeles and its abundant and ever-changing locales – from the Santa Monica Pier to the infamous and now-defunct Ambassador Hotel – have set the scene for a wide variety of cinematic treasures from Chinatown to Forrest Gump Falling Down to the coming-of-age classic Boyz n The Hood.
This second volume marks an engaging citywide tour of the many films shot on location in this birthplace of cinema and the screen spectacle. World Film Locations: Los Angeles Vol 2 pairs fifty incisive synopses of carefully chosen film scenes – both famous and lesser-known – with an accompanying array of evocative full-colour film stills demonstrating how motion pictures have contributed to the multifarious role of the city in our collective consciousness as well as how key cinematic moments reveal aspects of its life and culture that are otherwise largely hidden from view.
Insightful essays and interviews throughout turn the spotlight on the important directors iconic locations thematic elements and historical periods that provide insight into Los Angeles and its vibrant cinematic culture. Rounding out this information are city maps with information on how to locate key features as well as photographs showing featured locations as they appear now.
A guided tour of the City of Angels conducted by the likes of John Cassavetes Robert Altman Nicholas Ray Michael Mann and Roman Polanski World Film Locations: Los Angeles Vol 2 is a concise and user-friendly guide to how Los Angeles has captured the imaginations of both filmmakers and those of us sitting transfixed in theatres worldwide.

Walking in Art Education
Ecopedagogical and A/r/tographical Encounters
This edited collection highlights ways that arts-educators have taken up important questions around learning with the land through walking practices across spatial temporal and cultural differences. These walking practices serve as ecopedagogical moments that attune us to human-land and more-than-human relationships while also moving past Western-centric understandings of land and place. Yet it is also more than this as the book situates this work in a/r/tographic practices taking up walking as one method for engagement.
Authors explore walking and a/r/tography in their local contexts. As a result the book finds that kinship and relationality are significant themes that permeate across a/r/tographic practices focused on ecopedagogy and learning with the land.
Unique to this collection is the weaving of groundings that both guide each chapter and emphasize the philosophical commitment of the book. Each grounding is written by scholars or artists with Indigenous backgrounds to Turtle Island (North America) or are scholars who are Indigenous to other countries and places who are now working in Canadian university settings. Many are Elders cultural stewards knowledge keepers and stewards of the land who find themselves immersed in practices that are artful ecological and in many instances involve the practice of walking. Each grounding offers an important lesson or prompt for readers to consider as they engage with the chapters as well as offering a conceptual re-centring and grounding to the land and the traditional knowledges from the territories on which this collection is being produced and edited.
Anishnaabe kwe scholar and artist Anna-Leah King reflects on the teachings of Alfred Manitopeyes a Saulteaux Elder from Muskcowekwun Pimosatamowin who shares that good walking and good talking is more than just a metaphor.
Ojibwa scholar and artist Natalie Owl troubles the dictionary definition of anecdotal in relation to walking in the world as an Indigenous woman.
Mukwa Musayett Shelly Johnson reflects on her relationship to the natural elements revealing how the winds have helped her learn emotional intimacy- from feelings of grief frustration anger respect power love and gratitude.
Metis scholar and artist Shannon Leddy invites the reader to a time-travelling walk tracing the colonial legacies of the land where she now lives in Vancouver Musqueam Territory going back to ancient Greece and engaging with Greek mythology and bringing us to creation itself as we gestate in our mother’s womb.
Cathy Rocke invites readers to her favourite walking path where she focuses her attention to the reciprocal relationships found in nature and considers how they can help us better understand healthy human relationships.
Gloria Ramirez reflects on her homeland in the Andean Mountains and how her body is intimately tied to the places she has walked.
In a poetic grounding story Shauneen Pete reflects on the traditional teachings shared by her grandfather from Little Pine First Nation about living and learning with the land.
Sheila Blackstock member of the Gitxsan First Nation invites readers to join her on a walk along the lakeshore in early springtime as she reflects on her walking practices that have taught her how to learn from nature. She describes her movements and senses as “a heart catalogue of understanding how to be in nature”.
In this grounding lesson from Peter Cole and Pat O’Riley the characters of Coyote and Raven invite readers to the Kichwa-Lamista of the High Amazon and the Quechua Andeans in the Sacred Valley of the Incas in Peru. Through story they talk about returning to the land in an era of climate change and learning about traditional lifeways of Indigenous relations that emphasize preserving maintain repairing caring and sharing.
In her grounding poem Yasmin Dean attunes to and shows gratitude to the Earth as she thoughtfully considers how to open and walk through the gate that leads to the sacred.

Women's Work in Post-war Italy
An Oral and Filmic History
Italy’s 1948 constitution states that Italy is a ‘republic founded upon work’. This book explores women’s labour following World War Two and Italy’s new republic. It focuses its enquiry on three sectors: agriculture (rice weeders) fashion (seamstresses) and religious work (nuns). It studies original oral history interviews and compares women’s own words with their representation in film.
In Italy both war and national reconstruction have typically been framed as masculine undertakings. This book shifts that frame to investigate the labour that Italian women were doing at this critical time of political social and ideological change. By examining (filmed) oral history interviews and postwar fiction films the book brings a vivid engaging and cross-disciplinary account of women’s work.
Historical studies of Italian women’s work in this period are scarce short and almost never in English; this work addresses that critical gap. Film histories almost invariably study women for their beauty and on-screen sexuality; this work critiques and moves beyond this bias. Oral history studies aim to give voice to the under-represented; this book shares that goal.
The book is interested in how women’s work was viewed by society and by women workers themselves. Critical analysis of films produced between 1945 and 1965 reveals tensions around women workers’ financial sexual intellectual and spatial independence. Oral histories reveal little-discussed professions and women’s experiences in the workplace. These interviews expose the profound difference work made to women’s lives and the joys and dilemmas of this difference.

Women and the Media in Capitalism and Socialism
An Ecofeminist Inquiry
This book looks at the position of women in the media in capitalism and socialism using ecofeminist lenses. It argues that when the position of women in the media in capitalism is at stake women suffer from discrimination structural barriers lack of recognition and a masculine way of thinking across countries whereas in socialism women did not suffer from the lack of recognition but they did suffer from dual expectations which placed a burden on them and enabled the return of patriarchal discrimination with the change of regimes and this leads to the notion of masculine thinking that underpinned socialist regimes too.
Whilst it is obvious from existing research as well as chapters in this book that socialist regimes had more respect for women it is clear that they were also underpinned by a masculine thought to an extent which resulted in a double burden on women in society and this was mirrored by the media.
Therefore the book argues that the new socialism is needed the one which will take into consideration patriarchy in all of its elements and include not just policies on equal pay and equal opportunities in the organisation but also has active women’s voices in designing policies that last and that makes an impact on equality in all of its social segments.
Contributions from Nikolina Borčić Ovidiana Bulumac Joseph Nwanja Chukwu Carla Cruz Maria Cunha Ivana Čuljak Ivona Čulo Béatrice Damian-Gaillard Elena Díaz Sanita Nwakpu Ekwutosi Barbara Henderson Bethany Fenner Mirela Holy Lisa Makarchuk Anka Mihajlov Prokopović Chinedu Jude Nwasum Jude Nwakpoke Ogbodo Eugénie Saitta Paloma Sanz-Marcos Nataša Simeunović Bajić Salomé Sola-Morales Martina Topić Hanne Vandenberghe Lea Vene Marija Vujović Belén Zurbano-Berenguer Batya Weinbaum.

Worlds Unbound
The Art of teamLab
In this lavishly illustrated volume Laura Lee introduces the art of Tokyo-based digital art collective teamLab which has soared to global fame with its electrifying immersive and interactive installations. The first of its kind Worlds Unbound: The Art of teamLab provides a comprehensive overview of teamLab’s artistic vision and achievements from its beginnings to its twentieth anniversary in 2021 and illuminates the remarkable scope of teamLab’s groundbreaking art and its fundamental contribution to the pivotal field of new media art.
This original new book the first scholarly monograph on this popular group unpacks the popularity and success of the digital immersive environments created worldwide by the Tokyo-based collective teamLab from multiple perspectives and addresses the lack of critical appreciation of their work. The book includes an extensive interview with teamLab.
teamLab launched in January 2001 with five members and now comprises more than 600 individuals in a multidisciplinary collaboration of engineers computer graphics animators mathematicians graphic designers architects artists and computer programmers.
The digital art collective has attained international celebrity for its electrifying installations that transcend boundaries between gallery public space and popular entertainment and judging from press coverage ticket sales and prolific production it seems clear teamLab’s success is only on the rise. In 2018 the collective opened the MORI Building DIGITAL ART MUSEUM: teamLab Borderless a massive technological environment in Tokyo that recorded 2.3 million visitors in its first year of operation – the world’s largest annual number of visitors of any single-artist museum. The same year saw numerous other high-profile immersive exhibitions including teamLab: Massless in Helsinki Au-delà des limites in Paris and teamLab Planets TOKYO a second exhibition in Tokyo.
These were quickly followed by two new museums teamLab Borderless Shanghai in 2019 and in 2020 teamLab SuperNature in Macao. The vast sea of selfies that have emerged from these venues index the collective’s soaring global popularity.
At the same time teamLab’s works have found art market success and have been exhibited in major museums worldwide including the National Gallery of Art in Washington DC and Los Angeles County Museum of Art (LACMA) and they are part of the permanent collection of The Art Gallery of New South Wales the Asian Art Museum of San Francisco and Amos Rex in Helsinki among numerous others. This canonization of teamLab’s art belies the fact that the group did not have a traditional gallery start and in fact teamLab has always engaged in software development and corporate work in addition to creating artworks. The collective thus boasts an enigmatic status spanning conventional categories and defying traditional art world pedigree. In so doing it has produced a tremendously rich body of work that speaks to several overlapping issues pertinent to contemporary art while advancing a unique artistic vision.
Primary readership will include artists art historians and visual studies scholars who are particularly interested in the most recent media art and Japanese contemporary art. It will be an essential resource for students and scholars working in Japanese art global contemporary art digital art augmented reality expanded cinema and installation art and related fields.
It will also be of more general interest to those who have visited or hope to visit teamLab environments worldwide.

Women in Iberian Filmic Culture
A Feminist Approach to the Cinemas of Portugal and Spain
Though cinema arrived in Spain and Portugal at the end of the nineteenth century national and industrial problems as well as the dictatorships of Salazar and Caetano (in Portugal) and Franco (in Spain) meant Iberian cinemas were isolated from European cultural trends. Strict censorship in both countries limited the themes and artistic practices adopted while a specific cinematographic language in many cases full of metaphors and symbolism sought alternatives to the imposed official discourse and preconceived definitions of supposed national identities. By contrast the arrival of democracy from the 1970s onwards widened not just the panorama of film production and criticism but also opened the film industry to women’s participation in areas historically assigned to men.
Focusing on Portuguese and Spanish cinema this collection brings together research about women and their status in relation to Iberian filmic culture. The volume contributes to ongoing debates about the position of women in the cinemas of Portugal and Spain from interdisciplinary and feminist perspectives as well as new accounts of film history. It also aims to promote comparisons between Iberian cinemas and visual culture a topic that is almost unexplored in academia despite the similar histories of the two countries particularly throughout the twentieth century.

Writing Belonging at the Millennium
Notes from the Field on Settler-Colonial Place
In Writing Belonging at the Millennium Emily Potter critically considers the long-standing settler-colonial pursuit of belonging manifested through an obsession with firm and stable ground. This pursuit continues across the field of the postcolonial nation today; the recognition of colonization’s destructive impacts on humans and environments troublingly generates a renewed desire to secure non-indigenous belonging. Focusing on the crucial role that Australia’s contemporary literature plays in shaping ideas of place and its inhabitation Potter tracks non-indigenous belonging claims through a range of fiction and non-fiction texts to examine how settler-colonial anxieties about belonging intersect with intensifying environmental challenges. Significantly she proposes that new understandings of unsettled and uncertain non-indigenous belonging may actually be fruitful context for decolonizing relations with place – something that is imperative in a time of heightened global environmental crisis.

World-Wide-Walks
Peter d'Agostino: Crossing Natural-Cultural-Virtual Frontiers

What's Next?
Eco Materialism and Contemporary Art
By paying tribute to matter materiality and materialisation the examples of contemporary art assembled in What’s Next? Eco Materialism and Contemporary Art challenge the social cultural and ethical norms that prevailed in the twentieth century. This significant frontier of contemporary culture is identified as Eco Materialism because it affirms the emergent philosophy of Neo Materialism and attends to the pragmatic urgency of environmentalism.
In this highly original book Linda Weintraub surveys the work of 40 international artists who present materiality as a strategy to convert society’s environmental neglect into responsible stewardship. These bold art initiatives enriched by their associations with philosophy ecology and cultural critique bear the hallmark of a significant new art movement. This accessible text written for students and a wider readership is augmented with interactive opportunities that actuate eco material attitudes and behaviours. They invite readers to engage in this timely arena of contemporary art.
Printed in high quality black and white throughout colour reproductions of the artworks discussed are available to view through the author's website.

World Film Locations: Cleveland
The prototypical rust belt city Cleveland has long served as an emblem of late twentieth-century urban decay. But recent decades have brought a cultural and economic renaissance – a revival that has been reflected and aided by the growing number of films being shot on location there. This new entry in the World Film Locations series offers the first-ever extended look at Cleveland on screen. Richly illustrated with images from dozens of productions it reveals Cleveland to be usefully chameleonic appealing to some filmmakers for its modern downtown's ability to mimic more prominent (and more expensive) cities to others for the way its shuttered factories and decaying docks signify contemporary urban distress. With entries on such classics as The Fortune Cookie The Deer Hunter A Christmas Story and Marvel's The Avengers as well as lesser-known films the volume reveals Cleveland to be a far more compelling and far more varied on-screen presence than even most film buffs would expect. Like all the books in this series World Film Locations: Cleveland is designed to appeal to cinephiles and scholars alike while also serving as a silver screen souvenir for those who make the city their home as well as for those who visit it.

Wuthering Heights on Film and Television
A Journey Across Time and Cultures
Emily Brontë’s beloved novel Wuthering Heights has been adapted countless times for film and television over the decades. Valérie V.Hazette offers here a historical and transnational study of those adaptations presenting the afterlife of the book as a series of cultural journeys that focuses as much on the readers filmmakers and viewers as on the dramas themselves. Taking in the British silent film; French Mexican and Japanese versions; the British television serials; and more this richly theoretical volume is the first comprehensive global analysis of the adaptation of Wuthering Heights for film and television.

World Film Locations: Malta

World Film Locations: Washington D.C.
This friction animates and attracts filmmakers who use the District's landmarks as a shorthand to express and investigate contemporary ideals and concerns about American society. Films set there both celebrate and castigate the grand American experiment it symbolizes. From Frank Capra’s 1939 Mr. Smith Goes to Washington to the alien invasion blockbuster Independence Day films set in Washington depict our most ardent hopes and bring to life our darkest fears.
World Film Locations: Washington D.C. collects essays and articles about Washington film history and locations. Featuring explorations of carefully chosen film scenes and key historical periods the book examines themes directors and depictions and is illustrated with evocative movie stills city maps and location photographs. Taken as a whole this is essential reading for any cinephile who has ever wondered how a bill becomes a law.

World Film Locations: Sydney
The contributors to this collection take readers on a virtual tour of Sydney from Kings Cross the city’s red light district and frequent film location to the famous beaches to explore how representations in movies have both played into and influenced how we think of these spaces and those that frequent them. Essays also consider the experimental film group UBU Films who shot shorts and features in and around Sydney’s inner city suburbs during the 1960s and early 1970s and the Sydney Opera House one of the world’s most recognizable landmarks and its role in movies both Australian and international.
Packed with full-color photographs this is the first book of its kind to deal specifically with Sydney and film. It will find a grateful audience among film lovers casual viewers tourists and film historians.

World Film Locations: Buenos Aires

World Film Locations: Singapore
A vibrant city and country nestled at the foot of the Malaysian peninsula Singapore has long been a crossroads a stopping point and a cultural hub where goods inventions and ideas are shared and traded.
Though Singapore was home to a flourishing Chinese and Malay film industry in the 1950s and 1960s between independence in 1965 and the early 1990s few movies were made there. A new era for cinema in the sovereign city-state started with the international recognition of Eric Khoo’s first features followed by a New Wave comprised of graduates from local film schools. In recent years the Singapore film industry has produced commercially successful fare such as the horror movie The Maid as well as more artistic films like Sandcastle the first Singaporean film to be selected for International Critic’s Week at Cannes and Ilo Ilo which won the Caméra d’or at Cannes in 2013. Covering the myths that surround Singaporean film and exploring the realities of the movies that come from this exciting city World Film Locations: Singapore introduces armchair travellers to a rich but less known national cinema.