This book aims to redefine the relationship between film and revolution. Starting with Hannah Arendt’s thoughts on the American and French Revolution, it argues that, from a theoretical perspective, revolutions can be understood as describing a relationship between time and movement and that ultimately the spectators and not the actors in a revolution decide its outcome. Focusing on the concepts of ‘time,’ ‘movement,’ and ‘spectators,’ this study develops an understanding of film not as a medium of agitation but as a way of thinking that relates to the idea of historicity that opened up with the American and French Revolution, a way of thinking that can expand our very notion of revolution. The book explores this expansion through an analysis of three audiovisual stagings of revolution: Abel Gance’s epic on the French Revolution Napoléon, Warren Beatty’s essay on the Russian Revolution Reds, and the miniseries John Adams about the American Revolution. The author thereby offers a fresh take on the questions of revolution and historicity from the perspective of film studies.

This book aims to redefine the relationship between film and revolution. Starting with Hannah Arendt’s thoughts on the American and French Revolution, it argues that, from a theoretical perspective, revolutions can be understood as describing a relationship between time and movement and that ultimately the spectators and not the actors in a revolution decide its outcome. Focusing on the concepts of ‘time,’ ‘movement,’ and ‘spectators,’ this study develops an understanding of film not as a medium of agitation but as a way of thinking that relates to the idea of historicity that opened up with the American and French Revolution, a way of thinking that can expand our very notion of revolution. The book explores this expansion through an analysis of three audiovisual stagings of revolution: Abel Gance’s epic on the French Revolution Napoléon, Warren Beatty’s essay on the Russian Revolution Reds, and the miniseries John Adams about the American Revolution. The author thereby offers a fresh take on the questions of revolution and historicity from the perspective of film studies.

As the digital revolution has democratised film production, a new hybrid model of distribution is the way independent filmmakers can take control of their own distribution. This approach is not just DIY or Web-based - it combines the best techniques from each distribution arena, old and new. In Think Outside the Box Office, Reiss explains audience identification and targeting, negotiating split-rights agreements, the new role of film festivals and more.

“Brilliant. . . . Lewis has given us a spectacular account of two great men who faced up to uncertainty and the limits of human reason.” —William Easterly, Wall Street Journal Forty years ago, Israeli psychologists Daniel Kahneman and Amos Tversky wrote a series of breathtakingly original papers that invented the field of behavioral economics. One of the greatest partnerships in the history of science, Kahneman and Tversky’s extraordinary friendship incited a revolution in Big Data studies, advanced evidence-based medicine, led to a new approach to government regulation, and made much of Michael Lewis’s own work possible. In The Undoing Project, Lewis shows how their Nobel Prize–winning theory of the mind altered our perception of reality.

'Stimulating, intelligent and enjoyable discussions of the most important issues of our day.' STEVEN PINKER 'From entrepreneurs to athletes, and world leaders to entertainers, this is a fascinating collection of interviews with some of the world's most influential individuals.' MARK CUBAN 'Thought Economics is a fine rebuke to the soundbite culture; these interviews are driven by real curiosity, and there is a wealth of wisdom here.' EDWARD STOURTON ________________________ Since 2007, entrepreneur and philanthropist Vikas Shah has been on a mission to interview the people shaping our century. Including conversations with Nobel prizewinners, business leaders, politicians, artists and Olympians, he has been in the privileged position of questioning the minds that matter on the big issues that concern us all. We often talk of war and conflict, the economy, culture, technology and revolutions as if they are something other than us. But all these things are a product of us - of our ideas, our dreams and our fears. We live in fast-moving and extraordinary times, and the changes we're experiencing now, in these first decades of the twenty-first century, feel particularly poignant as decisions are made that will inform our existence for years to come. What started out as a personal interest in the mechanisms that inform our views of the world, and a passion for understanding, has grown into a phenomenal compilation of once-in-a-lifetime conversations. In this incredible collection, Shah shares some of his most emotive and insightful interviews to date.

Over the last few decades, film has increasingly become an issue of philosophical reflection from an ontological and epistemological perspective, and the claim “doing philosophy through film” has raised extensive discussion about its meaning. The mechanical reproduction of reality is one of the most prominent philosophical questions raised by the emergence of film at the end of the nineteenth century, inquiring into the ontological nature of both reality and film. Yet the nature of this audio-photographic and moving reproduction of reality constitutes an ontological puzzle, which has widely been disregarded as a main line of enquiry with direct consequences for philosophy. Regarding this background, this volume brings together the best papers from the Lisbon Conference on Philosophy and Film: Thinking Reality and Time through Film, held in 2014. What they all have in common is the discussion of new aspects and approaches of how philosophy relates to film. Whether by philosophizing through concrete examples of films or whether looking at film’s ontological reliance on time and image, or its intra-active entanglement with reality or truth, this book explores grasp film’s nature philosophically, and provides new insights for the film philosopher and the filmmaker, as well as for the freshman fascinated by film for philosophical reasons.