Terri Simone Francis

Cynthia Baron

Robin G. Vander

Charlene Regester

Ellen C. Scott

Contributions by Cynthia Baron, Elizabeth Binggeli, Kimberly Nichele Brown, Priscilla Layne, Eric Pierson, Charlene Regester, Ellen C. Scott, Tanya L. Shields, and Judith E. Smith Intersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness illuminates cultural and material trends that shaped Black film adaptations during the twentieth century. Contributors to this collection reveal how Black literary and filmic texts are sites of negotiation between dominant and resistant perspectives. Their work ultimately explores the effects racial perspectives have on film adaptations and how race-inflected cultural norms have influenced studio and independent film depictions. Several chapters analyze how self-censorship and industry censorship affect Black writing and the adaptations of Black stories in early to mid-twentieth-century America. Using archival material, contributors demonstrate the ways commercial obstacles have led Black writers and white-dominated studios to mask Black experiences. Other chapters document instances in which Black writers and directors navigate cultural norms and material realities to realize their visions in literary works, independent films, and studio productions. Through uncovering patterns in Black film adaptations, Intersecting Aesthetics reveals themes, aesthetic strategies, and cultural dynamics that rightfully belong to accounts of film adaptation. The volume considers travelogue and autobiography sources along with the fiction of Black authors H. G. de Lisser, Richard Wright, Ann Petry, Frank Yerby, and Walter Mosley. Contributors examine independent films The Love Wanga (1936) and The Devil’s Daughter (1939); Melvin Van Peebles's first feature, The Story of a Three Day Pass (1967); and the Senegalese film Karmen Geï (2001). They also explore studio-era films In This Our Life (1942), The Foxes of Harrow (1947), Lydia Bailey (1952), The Golden Hawk (1952), and The Saracen Blade (1954) and post-studio films The Learning Tree (1969), Shaft (1971), Lady Sings the Blues (1972), and Devil in a Blue Dress (1995).

Literary Adaptations and Cinematic Representations of Blackness

Intersecting Aesthetics

Diane Carson

Mark Bernard

Employs the foodways paradigm to analyze the ideological dimensions of food imagery and food behavior in fiction and documentary films.

Food, Film, and the Politics of Representation

Appetites and Anxieties

Detailed coverage of choosing the correct medium to display your work, burning your portfolio onto CD-ROM, setting up your Web site portfolio, digitizing non-computer-based work, incorporating your resume into your portfolio, designing your portfolio for both functionality and aesthetics, creating portfolios that combine print and digital media, dealing with intellectual property and fair use issues, updating your portfolio, tailoring your portfolio for a specific audience, and marketing yourself effectively.

Creating a Digital Portfolio

Mark Bould

Alex Woloch

Martin F. Norden

Maureen Turim

Greg M. Smith

Susan Felleman

Klaus Rieser

Rebecca M. Gordon

Laura Barrett

Hamilton Carroll

Mika Turim-Nygren

The first collection of original essays on the work of writer-director John Sayles, this book addresses the full range of his films from a variety of critical viewpoints.

New Perspectives on Independent Filmmaker John Sayles

Sayles Talk

Cinema is a mosaic of memorable food scenes. Detectives drink alone. Gangsters talk with their mouths full. Families around the world argue at dinner. Food documentaries challenge popular consumption-centered visions. In Appetites and Anxieties: Food, Film, and the Politics of Representation, authors Cynthia Baron, Diane Carson, and Mark Bernard use a foodways paradigm, drawn from the fields of folklore and cultural anthropology, to illuminate film's cultural and material politics. In looking at how films do and do not represent food procurement, preparation, presentation, consumption, clean-up, and disposal, the authors bring the pleasures, dangers, and implications of consumption to center stage. In nine chapters, Baron, Carson, and Bernard consider food in fiction films and documentaries-from both American and international cinema. The first chapter examines film practice from the foodways perspective, supplying a foundation for the collection of case studies that follow. Chapter 2 takes a political economy approach as it examines the food industry and the film industry's policies that determine representations of food in film. In chapter 3, the authors explore food and food interactions as a means for creating community in Bagdad Café, while in chapter 4 they take a close look at 301/302, in which food is used to mount social critique. Chapter 5 focuses on cannibal films, showing how the foodways paradigm unlocks the implications of films that dramatize one of society's greatest food taboos. In chapter 6, the authors demonstrate ways that insights generated by the foodways lens can enrich genre and auteur studies. Chapter 7 considers documentaries about food and water resources, while chapter 8 examines food documentaries that slip through the cracks of film censorship by going into exhibition without an MPAA rating. Finally, in chapter 9, the authors study films from several national cinemas to explore the intersection of food, gender, and ethnicity. Four appendices provide insights from a food stylist, a selected filmography of fiction films and a filmography of documentaries that feature foodways components, and a list of selected works in food and cultural studies.

Yannis Tzioumakis

This book illustrates the many ways that actors contribute to American independent cinema. Analyzing industrial developments, it examines the impact of actors as writers, directors, and producers, and as stars able to attract investment and bring visibility to small-scale productions. Exploring cultural-aesthetic factors, the book identifies the various traditions that shape narrative designs, casting choices, and performance styles. The book offers a genealogy of industrial and aesthetic practices that connects independent filmmaking in the studio era and the 1960s and 1970s to American independent cinema in its independent, indie, indiewood, and late-indiewood forms. Chapters on actors’ involvement in the evolution of American independent cinema as a sector alternate with chapters that show how traditions such as naturalism, modernism, postmodernism, and Third Cinema influence films and performances.

Industry, Aesthetics, and Performance

Acting Indie

Daniel Peck

This 'Visual QuickPro Guide' takes the instructional format of the 'QuickStart Guides' to a more advanced level. For intermediate to advanced database developer students who want to break through to the next level of FileMaker, the book takes students from working with records and files to creating and designing databases, printing and much more.

For Windows and Macintosh

Filemaker Pro 5/5.5 Advanced

Provides a step-by-step guide on how to create a digital portfolio, explaining how to convert a traditional print format into a digital format of CDs, DVDs, and Web sites.

Designing a Digital Portfolio

Cynthia Baron

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