‘Left or Right? Directing Lateral Movement in Film’ offers an in-depth analysis of film, television, and new media directing from a perspective of clearly articulated directorial concept linked to the placement and movement of performers in shot design. This book strives to demonstrate the mechanism of directional bias and how the effects of perceptual mechanisms can help film directors and image-makers to control, regulate, and modify the viewer’s perception of characters and story movement, ultimately leading to higher quality creations. This highly hands-on, practical book provides novel insights into the significance of laterality effects, equipping film directors, and image-makers who want to create aesthetically valuable and well-crafted visual products with functional tools to employ. The book also examines lateral organization in regard to biological sex, gender identity, class, races, ethnicity, religions, and age in LGBTQ+ films and porn cinema. ‘Left or Right? Directing Lateral Movement in Film’ holds broad appeal from experiences directors or cinematographers with an established body of work to students working to understand the language of cinema. It will also appeal to film and media theorists, as well as teachers of visual arts education.

The Weimar Republic of Germany, covering the post-World War I period of civil and governmental strife, witnessed a great struggle among a variety of ideologies, a struggle for which the arts provided one important arena. Leftist individuals and organizations critiqued mainstream art production and attempted to counter what they perceived as its conservative-to-reactionary influence on public opinion. In this groundbreaking study, Bruce Murray focuses on the leftist counter-current in Weimar cinema, offering an alternative critical approach to the traditional one of close readings of the classical films. Beginning with a brief review of pre-Weimar cinema (1896-1918), he analyzes the film activity of the Social Democratic Party, the German Communists, and independent leftists in the Weimar era. Leftist filmmakers, journalists, and commentators, who in many cases contributed significantly to marginal leftist as well as mainstream cinema, have, until now, received little scholarly attention. Drawing on exhaustive archival research and personal interviews, Murray shows how the plurality of aesthetic models represented in the work of individuals who participated in leftist experiments with cinema in the 1920S collapsed as Germany underwent the transition from parliamentary democracy to fascist dictatorship. He suggests that leftists shared responsibility for that collapse and asserts the value of such insights for those who contemplate alternatives to institutional forms of cinematic discourse today.

“A novelistic mosaic that simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious.” —The New York Times Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth -- musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies -- the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children. Now this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices. The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside. Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story -- of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.

(FAQ). Film Noir FAQ celebrates and reappraises some 200 noir thrillers representing 20 years of Hollywood's Golden Age. Noir pulls us close to brutal cops and scheming dames, desperate heist men and hardboiled private eyes, and the unlucky innocent citizens that get in their way. These are exciting movies with tough guys in trench coats and hot tomatoes in form-fitting gowns. The moon is a streetlamp and the narrow streets are prowled by squad cars and long black limousines. Lives are often small but people's plans are big sometimes too big. Robbery, murder, gambling; the gun and the fist; the grift and the con game; the hard kiss and the brutal brush-off. Film Noir FAQ brings lively attention to story, mood, themes, and technical detail, plus behind-the-scenes stories of the production of individual films. Featuring numerous stills and posters many never before published in book form highlighting key moments of great noir movies. Film Noir FAQ serves up insights into many of the most popular and revered names in Hollywood history, including noir's greatest stars, supporting players, directors, writers, and cinematographers. Pour a Scotch, light up a smoke, and lean back with your private guide to film noir.

Dragons and their riders compete in an international sports tournament in this alternate contemporary world fantasy Lana Torres has always preferred dragons to people. In a few weeks, sixteen countries will compete in the Blazewrath World Cup, a tournament where dragons and their riders fight for glory in a dangerous relay. Lana longs to represent her native Puerto Rico in their first ever World Cup appearance, and when Puerto Rico’s Runner—the only player without a dragon steed—is kicked off the team, she’s given the chance. But when she discovers that a former Blazewrath superstar has teamed up with the Sire—a legendary dragon who’s cursed into human form—the safety of the Cup is jeopardized. The pair are burning down dragon sanctuaries around the world and refuse to stop unless the Cup gets cancelled. All Lana wanted was to represent her country. Now, to do that, she’ll have to navigate an international conspiracy that’s deadlier than her beloved sport.

In this post-apocalyptic novel from Newbery Medal–winning author Robert C. O’Brien, a teen girl struggling to survive in the wake of unimaginable disaster comes across another survivor. Ann Burden is sixteen years old and completely alone. The world as she once knew it is gone, ravaged by a nuclear war that has taken everyone from her. For the past year, she has lived in a remote valley with no evidence of any other survivors. But the smoke from a distant campfire shatters Ann’s solitude. Someone else is still alive and making his way toward the valley. Who is this man? What does he want? Can he be trusted? Both excited and terrified, Ann soon realizes there may be worse things than being the last person on Earth.