Children, Cinema and Censorship. From Dracula to the Dead End Kids

Using original research, this book explores the recurring debates in Britain and America about children and how they use and respond to the media, focusing on a key example: the controversy surrounding children and cinema in the 1930s. It explores the attempts to control children's viewing, the theories that supported these approaches and the extent to which they were successful. The author develops her challenging proposition that children are agents in their cinema viewing, not victims; showing how these angels with dirty faces colonized the cinema.

British Horror Cinema

From no-budget to the Hammer studio,British Horror Cinemainvestigates a wealth of horror films including classics such as Peeping Tom andThe Wicker Man. Contributors consider the Britishness of British horror and address issues of censorship, the representation of family and of women. They also examine sub-genres such as the portmanteau horror film, and the work of key filmmakers including John Gilling and Peter Walker.

Herodotus of Halicarnassus

Acting (Re)considered - A Theoretical and Practical Guide

Acting (Re)Considered is a challenging and extraordinarily eye-opening collection of seminal essays about intercultural theories of acting, training and the actor's body in performance. Acting (Re)Considered will be is an essential part of every theatre student's repertoire, whether they are studying the history, the theory, or the practice of acting. Included are discussions on acting by or about most of the major figures who have shaped twentieth century performance.

Uncanny Bodies - The Coming of Sound Film and the Origins of the Horror Genre

In 1931 Universal Pictures released "Dracula "and "Frankenstein, "two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. "Uncanny Bodies "argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly.