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Released in 1972, 1974, and 1990 respectively, Francis Ford Coppolas three-part saga is one of the greatest artistic accomplishments (and financial successes) in the history of Hollywood cinema. The latest in Scarecrows Film Score Guides series, Nino Rotas The Godfather Trilogy: A Film Score Guide discusses the events that led to the realization of the three films and studies and analyzes their music. Sciannameo reexamines The Godfather Trilogy from a variety of perspectives, with special focus on the music Rota composed to bind together approximately nine hours of cinematic narrative. Probing Rotas formation as a musician amidst the cultural climate established by Italian Fascism, Sciannameo examines Rotas initial stylistic adherence to the Mussolini-dictated or inspired concept of Italianness and then his return to a more congenial 19th-century formulaic vocabulary. Sciannameo considers Rotas involvement with cinema and his collaboration with many celebrated directors, such as Luchino Visconti, Federico Fellini, Franco Zeffirelli, and Coppola, and deals with the sensitive issues of cultural analysis vis--vis the Mafia as a concept embedded within the Italian-American community. The book also discusses the sound of the Godfather films, describing and analyzing the musical subtexts underscoring a group of pivotal scenes. Relying substantially on Rotas notes, which are discussed here for the first time, the book reveals the composers interpretation of Coppolas cinematic narrative and the scoring methodologies he employed.

Teachers the world over are discovering the importance and benefits of incorporating popular culture into the music classroom. The cultural prevalence and the students'' familiarity with recorded music, videos, games, and other increasingly accessible multimedia materials help enliven course content and foster interactive learning and participation. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube provides ideas and techniques for teaching music classes using elements of popular culture that resonate with students'' everyday lives. From popular songs and genres to covers, mixes, and mashups; from video games such as Dance Dance Revolution and Guitar Hero to television shows like American Idol, this exciting collection offers pedagogical models for incorporating pop culture and its associated technologies into a wide variety of music courses.Biamonte has collected well-rounded essays that consider a variety of applications. After an introduction, the essays are organized in 3 sections. The first addresses general tools and technology that can be incorporated into almost any music class: sound-mixing techniques and the benefits of using iPods and YouTube. The middle section uses popular songs, video games, or other aspects of pop culture to demonstrate music-theory topics or to develop ear-training and rhythmic skills. The final section examines the musical, lyrical, or visual content in popular songs, genres, or videos as a point of departure for addressing broader issues and contexts. Each chapter contains notes and a bibliography, and two comprehensive appendixes list popular song examples for teaching harmony, melody, and rhythm. Two indexes cross-reference the material by title and by general subject. While written with college and secondary-school teachers in mind, the methods and materials presented here can be adapted to any educational level.

In 2005, Scarecrow published Movies Made for Television, 1964-2004, a five-volume reference set commemorating 40 years of every made for TV film since See How They Run debuted in 1964. These books provided a comprehensive listing of every television film and mini-series, detailing each films original network, airdate, and length of broadcast. In this latest volume, Marill adds another five years of television films, providing information for an additional 400 works produced between 2005 and 2009.Along with a brief summary, entries also include extensive production credits (director, writer, producer, composer, director of photography, and editor) and a complete cast and character listing. With a chronology of the films, an appendix of movies adapted from other sources, and separate indexes for actors and directors, Movies Made for Television, 2005-2009 is a welcome addition to a resource highly regarded by scholars and historians of television and popular culture.

John Castagno has collected more than 1,100 signatures and monograms of Jewish artists and artists whose work reflects Jewish themes.

The Hungarian composer Gysrgy Ligeti (1923-2006) was one of the most innovative and influential composers of the last 50 years. He was one of a number of Central and East European composers, including Witold Lutoslawski and Krzysztof Penderecki, who have created musical languages that combine elements of the modernism of the West with a more flexible attitude to compositional technique. Ligeti's Stylistic Crisis: Transformation in His Musical Style, 1974-1985 explores how Ligeti's compositional style completely transformed during and after the composition of his only opera Le Grand Macabre (1974-1977). Michael D. Searby examines Ligeti's music from 1974 to 1985 in detail, with a particular emphasis on Le Grand Macabre, analyzing the music and providing possible explanations for the stylistic and compositional changes, as well as considering the consequences for Ligeti's subsequent music. In this first English-language book to focus on Ligeti's most significant work, Le Grand Macabre, Searby investigates Ligeti's music and its relationship to tonality, looking at his return to tradition and use of quotation and pastiche in the opera, and considering the transformation of Ligeti's style and technique after the opera. The Horn Trio (1982) with its romantic phrase structure is also analyzed to demonstrate the radical change in the composer's stylistic approach. Searby also examines Ligeti's relationship with postmodernism, addressing the modernist versus postmodernist polemic as it pertains to Ligeti's works. Many musical examples support the discussion, and an appendix summarizing the opera and photographs from a recent production, as well as an extensive bibliography, add to this valuable reference.

With 110 million members worldwide, Baptists are surpassed only by Roman Catholic and Orthodox groups as the largest segment of Christians. The term 'Baptist' has its origins with the Anabaptists, the denomination historically linked to the English Separatist movement of the 16th century. Although Baptist churches are located throughout the world, the largest group of Baptists lives in the Southern United States, and the Baptist faith has historically exerted a powerful influence in that region of the country. The A to Z of the Baptists relates the history of the Baptist Church through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on important events, doctrines, and the church founders, leaders, and other prominent figures who have made notable contributions. This volume commemorates the 400th anniversary of the founding of the Baptist movement in 1609.

The world as we have known it for the past century would have been very different without petroleum. Petroleum, particularly in the form of crude oil and its refined products, has been central to all aspects of modern industrial society and has been a major strategic geopolitical objective for nations. The 20th century was the age of oil, and at least part of the 21st century will be as well. Petroleum is used as an energy source and as a raw material for the production of an immense variety of chemicals and synthetic materials. Almost all the world's food relies on petroleum for fertilizer, pesticides, cultivation, or transport. Petroleum has been particularly dominant as a source of transportation fuels, an application for which cost-effective substitutes will be especially difficult to find. The A to Z of the Petroleum Industry presents a concise but complete one-volume reference on the history of the petroleum industry from pre-modern times to the present day. This is done through a chronology, an introductory essay, and over 400 cross-referenced dictionary entries on companies, people, places, events, technologies, and phenomena related to the history of the world's petroleum industry. Anyone interested in the history, status, and outlook for the petroleum industry will find this book a uniquely valuable source.

The 1930s were dominated by economic collapse, stagnation, and mass unemployment. This crisis enabled the Democrats to recapture the White House and embark upon a period of reform unsurpassed until the 1960s. Roosevelt's New Deal laid the foundations of a welfare system that was further consolidated during and after the Second World War. American involvement in World War II helped to secure victory in Europe and in Asia. American participation in the war led to economic recovery but also brought with it enormous demographic and social changes. Some of these changes continued after the war had ended, but further political reform was to be limited due to the impact of the Cold War and the effects of America's new role as the world's leading superpower in the atomic age. The A to Z of the Roosevelt-Truman Era examines significant individuals, organizations, and events in American political, economic, social, and cultural history between 1933 and 1953. This was a period of enormous significance in the United States due to the impact of the Great Depression, World War II, and the onset of the Cold War. The presidencies of Franklin D. Roosevelt and Harry S. Truman witnessed the origins of the modern American welfare system and the rise of the United States as a world power, as well as its involvement in the confrontation with communism that dominated the latter half of the 20th century.

The 50-year period from 1880 to 1929 is the richest era for theater in American history, certainly in the great number of plays produced and artists who contributed significantly, but also in the centrality of theater in the lives of Americans. As the impact of European modernism began to gradually seep into American theater during the 1880s and quite importantly in the 1890s, more traditional forms of theater gave way to futurism, symbolism, surrealism, and expressionism. American playwrights like Eugene O'Neill, George Kelly, Elmer Rice, Philip Barry, and George S. Kaufman ushered in the Golden Age of American drama. The A to Z of American Theater: Modernism focuses on legitimate drama, both as influenced by European modernism and as impacted by the popular entertainment that also enlivened the era. This is accomplished through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced entries on plays; music; playwrights; great performers like Maude Adams, Otis Skinner, Julia Marlowe, and E.H. Sothern; producers like David Belasco, Daniel Frohman, and Florenz Ziegfeld; critics; architects; designers; and costumes.

The Renaissance era was launched in Italy and gradually spread to the Netherlands, Germany, Spain, France, and other parts of Europe and the New World, with figures like Robert Campin, Jan van Eyck, Rogier van der Weyden, Albrecht DYrer, and Albrecht Altdorfer. It was the era that produced some of the icons of civilization, including Leonardo da Vinci's Mona Lisa and Last Supper and Michelangelo's Sistine Ceiling, Piet^, and David. Marked as one of the greatest moments in history, the outburst of creativity of the era resulted in the most influential artistic revolution ever to have taken place. The period produced a substantial number of notable masters, among them Caravaggio, Donato Bramante, Donatello, El Greco, Filippo Brunelleschi, Masaccio, Sandro Botticelli, Raphael, Titian, and Tintoretto. The result was an outstanding number of exceptional works of art and architecture that pushed human potential to new heights. The A to Z of Renaissance Art covers the years 1250 to 1648, the period most disciplines place as the Renaissance Era. A complete portrait of this remarkable period is depicted in this book through a chronology, an introductory essay, a bibliography, and over 500 hundred cross-referenced dictionary entries on major Renaissance painters, sculptors, architects, and patrons, as well as relevant historical figures and events, the foremost artistic centers, schools and periods, major themes and subjects, noteworthy commissions, technical processes, theoretical material, literary and philosophic sources for art, and art historical terminology.

A great deal has been written about the history of witchcraft, but much of what has been written is unreliable, exaggerated, or inaccurate. This problem is especially acute in regard to modern witchcraft, or Wicca, and its supposed connections to historical witchcraft in medieval and early modern Europe. The A to Z of Witchcraft provides a reliable reference source for both academics and general readers interested in the actual historical development of witchcraft in the western world. The focus of the dictionary is on Western Europe during the late-medieval and early modern periods, when the specific idea of diabolical witchcraft developed and when the so-called 'great witch-hunts' occurred. Entries are also provided that deal with magic and witchcraft in the earlier Christian period and classical antiquity, as well as with the lingering belief in witchcraft in the modern world, and with the development of the modern, neo-pagan religion of witchcraft, also known as Wicca. For comparative purposes, some entries have been provided that deal with aspects and systems of magic found in other parts of the world that seem to bear some relation to the idea of witchcraft as it developed in Christian Europe. The regions dealt with are mainly Africa, along with such New-World practices as Voodoo and Santeria. Entries in the dictionary cover important people in the history of witchcraft, from the medieval inquisitors and early modern magistrates who developed the stereotype of the historical witch to the modern individuals who have developed the religion of Wicca. Also included are legal terms and concepts important to the prosecution of the supposed crime of witchcraft, and religious and theological concepts pertaining to the demonic elements that came to be associated with witchcraft, as well as more popular beliefs and aspects of common folklore and mythology that became attached to the developing idea of witchcraft. Geographic entries are also included, discussing the scope of witch-hunting in various regions of Europe and the world, and describing specific examples of major witch-hunts such as those that occurred in Salem, Massachusetts.

Following on the success of her first book The Bully in the Book and in the Classroom, C. J. Bott has written this sequel to help those who work with children and young adults become familiar with books that address the problem of bullying. More Bullies in More Books presents over 350 annotated titles, from picture books to high school books, dealing with bullying. Chapters address specific bullying behaviors or problems: name calling, putdowns, and gossip; being new and different; body image; cliques, groups, and gangs; 'isms;' homophobia; cyberspace; and violence. Each chapter begins with an introduction that describes the harassment seen most often in each grade level and contains relevant books at all reading levels. Every entry features an in-depth summary, activities, and quotes from the book for students to discuss. An important resource about a real and harmful problem, this book will be of interest to teachers, librarians, counselors, administrators, and parents.

Despite a recent resurgence in studies of death and disease in native peoples of the Western Hemisphere, little work has been done on death and disease in Native Americans during the reservation period of the late 19th and early 20th centuries. Forgotten Voices: Death Records of the Yakama, 1888-1964 begins a discussion of the health of the people on the Yakama Reservation in Washington using statistical data. This is the first detailed work that focuses on the causes of death on American Indian reservations. It contains an extensive introduction to Yakama history and lifestyle, and tables that present statistical information on the major causes of death. Each chapter highlights a different cause of death on the Yakama Reservation, including*; Tuberculosis*; Pneumonia*; Heart Disease*; Gastrointestinal Problems*; Influenza*; Cancer*; Birth Complications*; Old Age*; StrokeForgotten Voices is an invaluable resource for students and scholars that encourages further research in the field of Native American history.

This collection includes previously published and unpublished essays on modern music, postmodern musicology and literary theory, and analytical studies of Haydn and Schubert, written by the distinguished composer and Columbia University professor emeritus George Edwards.

The Wilderness, the Nation, and the Electronic Era: American Christianity and Religious Communication 1620-2000: An Annotated Bibliography contains over 2,400 annotations of books, book chapters, essays, periodical articles, and selected dissertations dealing with the various means and technologies of Christian communication used by clergy, churches, denominations, benevolent associations, printers, booksellers, publishing houses, and individuals and movements in their efforts to disseminate news, knowledge, and information about religious beliefs and life in the United States from colonial times to the present. Providing access to the critical and interpretive literature about religious communication is significant and plays a central role in the recent trend in American historiography toward cultural history, particularly as it relates to numerous collateral disciplines: sociology, anthropology, education, speech, music, literary studies, art history, and technology. The book documents communication shifts, from oral history to print to electronic and visual media, and their adaptive uses in communication networks developed over the nation's history. This reference brings bibliographic control to a large and diverse literature not previously identified or indexed.

This text serves as a field guide to the principal choral-orchestral repertoire of the nineteenth century. It provides conductors with the information they will need to make programming decisions, and it provides scholars with a starting point for research on these works.

From Alien to When a Stranger Calls, many films are based on folklore or employ an urban legend element to propel the narrative. But once those traditional aspects have been identified, do they warrant further scrutiny? Indeed, why is the study of folklore in popular film important? In Films, Folklore and Urban Legends, Mikel J. Koven addresses this issue by exploring the convergence of folklore with popular cinema studies. Well beyond the identification of traditional motifs in popular cinema, Koven reveals new paradigms of filmic analysis, which open up when one looks at movies through the lens of folklore. In particular, this book focuses on the study of urban legends and how these narratives are used as inspiration for a number of films. Divided into five sections, the book begins with a general survey of the existing literature on folklore/film, predominantly from the perspective of folklore studies. Subsequent chapters address discourses of belief, how urban legends provide the organizing principle of some films, and how certain films "act out" or perform a legend. Movies discussed in this book include Alligator, Candyman, The Curve, Dead Man on Campus, I Know What You Did Last Summer, Urban Legend, Weekend at Bernie''s, and The Wicker Man, as well as zombie films, killer bee movies, and slasher films (including Halloween, Black Christmas, The Burning and Terror Train). Koven also devotes attention to key television shows such as The X-Files and Most Haunted. In his analysis, Koven explains not only how film and television narratives are built upon already-existing popular culture beliefs, but also how films and television shows recycle those beliefs back into popular culture. Taken as a whole, Film, Folklore and Urban Legends both stands on its own as the first book-length study of folklore and popular cinema, and as an introductory textbook for the study of folklore and film.

In September 1969, the Beatles released their final recorded work, Abbey Road, using a variety of progressive musical ideas that expressed the group's approach to multi-track recording and offering songs that constituted a highpoint in the Beatles' musical corpus. Of particular interest is the concluding sequence of songs (tracks 8-17): seemingly unrelated fragments woven together into a musical form that has thus far defied attempts at categorization. The Beatles' Abbey Road Medley: Extended Forms in Popular Music offers an analysis of these fragments, commonly known as the Abbey Road Medley, in order to understand and explain the emergent musical form and to clarify the relationships between music recording and music composition.Thomas MacFarlane provides an overview of the Beatles-their history and their music-within the context of popular music and culture between 1962 and 1970, paying particular attention to the production of the album Abbey Road and the pivotal role of producer George Martin on the Abbey Road Medley. After explaining his method of analysis, MacFarlane applies it to the recording and transcription of the Abbey Road Medley, examining the implications of the work's structure and demonstrating how the Beatles expanded the parameters of the popular music form by incorporating recording technology directly into the compositional process. Drawing conclusions about musical form and practice in the recording process of the 1970s and beyond, MacFarlane also suggests other examples of rock music that were influenced by Abbey Road. An appendix transcribing the author's interview with the Beatles' de facto manager Peter Brown, a selected discography, a bibliography, and a selection of photos conclude the book, which will be of particular interest to musicians and Beatles fans alike.

Since its inception in 1933, Toho Co., Ltd., Japan''s most famous movie production company and distributor, has produced and/or distributed some of the most notable films ever to come out of Asia, including Seven Samurai, Godzilla, When a Woman Ascends the Stairs, Kwaidan, Woman in the Dunes, Ran, Shall We Dance?, Ringu, and Spirited Away. While the western world often defines Toho by its iconic classics, which include the Godzilla franchise and many of the greatest films of the legendary director Akira Kurosawa and actor Toshiro Mifune, these pictures represent but a tiny fraction of Toho''s rich history. The Toho Studios Story: A History and Complete Filmography provides a complete picture of every Toho feature the Japanese studio produced and releasedΓÇöas well as foreign films that it distributedΓÇöduring its first 75 years. Presented chronologically, each entry in the filmography includes, where applicable, the original Japanese title, a direct translation of that title, the film''s international, U.S. release, and alternate titles; production credits, including each film''s producers, director, screenwriters, cinematographers, art directors, and composers, among others; casts with character names; production companies, technical specs, running times, and release dates; U.S. release data including distributor, whether the film was released subtitled or dubbed, and alternate versions; domestic and international awards; and plot synopses. Containing information not available on the Internet, The Toho Studios Story also contains a decade-by-decade history of the studio, making it an indispensable reference for conducting research on Japanese cinema and cultural history. Index for The Toho Studios Story.

John Wesley's Ecclesiology: A Study in Its Sources and Development looks at the major traditions and sources that shaped Wesley's study of church doctrine. Wesley's ecclesiology is best understood in light of the sources and background that contributed to his own theological formation, as well as the events that he faced in the course of his endeavors in the Wesleyan Revival. Therefore, this study first examines the possible sources for Wesley's doctrine of the church and then moves to the investigation of the development of his ecclesiology in the course of his ministry.

Music Theory for Musical Theatre is a textbook designed to demystify music theory and analysis to make it more accessible to the musical theatre student. It aims to equip the student with a basic skill set that he or she can directly apply to the art form. John Bell and Steven R. Chicurel explore how musical theatre composers use basic principles of music theory to help illuminate characters and tell stories, while helping the student understand the form, structure, and dramatic power of musical theatre repertoire.The material is presented in three parts. Part I breaks down key concepts in the rudiments of music theory, including melody, rhythm, harmony, and form, while using excerpts from musical theatre literature to illustrate these ideas. Part II offers full analyses of musical theatre songs, presenting a model for singing actors on how to use musical analysis as an aid in performance. The workbook in Part III provides hands-on drills and exercises that the reader can use to facilitate skill development of the ideas presented in part one. Published with a lay-flat binding for easy use in the classroom and concluding with a glossary that reinforces important terminology, this textbook fills a long-neglected need in musical theatre study that will be beneficial to beginning and advanced students alike.

Among the many fine examples of film scores by Erich Wolfgang Korngold (1897-1957), the score for The Adventures of Robin Hood (1938) stands out the most. Winner of the Academy Award(TM) for best dramatic score in 1938, it is seen by many as the archetypal accompaniment to a Warner Brothers swashbuckler, and it established Korngold as one of the leading exponents of film score composition at a formative point in its history. In Erich Wolfgang Korngold's The Adventures of Robin Hood: A Film Score Guide, author Ben Winters uses manuscript and archival research to challenge preconceived notions about the score's composer and its authorship. In the first two chapters, Winters examines Korngold's career on its own and in relation to the film, including his background in composing concert music and opera, his film scoring techniques, and his engagement with the Hollywood studio system. Chapter three focuses on the Robin Hood film while placing Korngold's music in a larger framework. It examines the film's treatment of the Robin Hood legend, its historical and critical contexts, and its place within the swashbuckler genre and the studio's anti-fascist agenda. While looking closely at the composer's work on this score, chapter four shows sources Korngold used, the music's production process, and the changes the score had undergone. The book concludes with a thematic analysis and reading of the score, identifying the various musical 'voices' that the listener weaves together as he or she experiences the film. This detailed consideration of Korngold's masterpiece will be continually turned to by film and music scholars alike.

Most critical work on the horror film in Germany has been devoted to the period of the Weimar Republic and the classics it has produced, including Robert Wiene''s The Cabinet of Dr. Caligari (1920) and F.W. Murnau''s Nosferatu (1922). Postwar German horror film, however, has received little critical attention. Caligari''s Heirs: The German Cinema of Fear after 1945 is a collection of essays that corrects this oversight by providing intelligent critical analyses of a variety of German horror films from the early postwar years to the present day. Following an introduction that discusses the development of critical discourse on postwar German horror film, these essays focus on four particular aspects of the genre: the immediate postwar years and the long shadow of Weimar cinema that falls over them; the dialogue between the German Autorenfilm and horror cinema; the influence of commercial American cinema on German horror films; and contemporary splatter films that have received more critical attention than any other postwar German horror films. To round out the picture of this genre in the context of a specific national tradition, the book also includes three interviews with contemporary German horror film directors working in both cinema and television. Though the book takes on a wide field of discussionΓÇöGerman horror film over a period of roughly fifty yearsΓÇöit does so by providing case studies. The essays in this collection discuss either an individual film or director, or they take on larger historical issues: from the discussion of the Nazi past in the postwar years to the heavy toll of German reunification. In its broad approach, Caligari''s Heirs has something to offer to three distinct audiences: the horror film fan, the reader interested in German cinema in general, and the reader interested in discovering a national culture through its popular culture.

From the late 1940s to the early '60s, Marilyn Monroe appeared in barely thirty movies, beginning with bit parts and moving on into supporting roles for such films as The Asphalt Jungle, All About Eve, and Clash by Night. She soon shot to international fame and gained prominent roles in a number of classics like The Seven Year Itch, Gentlemen Prefer Blondes, and Some Like It Hot. By the time of her early death in 1962, she had already become established as one of the great icons of the silver screen. Even early in her career, Monroe had been a source of inspiration for playwrights, filmmakers, and others looking to cash in on her tremendous impact. In The Immortal Marilyn: The Depiction of an Icon, authors John DeVito and Frank Tropea chronicle the many representations of Marilyn Monroe in the performing arts, from the 1950s to the present day. In a decade-by-decade review, the authors examine how Marilyn is portrayed in four distinct modes: as herself, as a Roman a Clef character, as a referent, and as a documentary subject. By looking closely at these individual works, the authors reveal the ways in which her persona, her history, and-most of all-her image have been appropriated for both fact and fiction.From an episode of I Love Lucy to Arthur Miller's play The Fall, from adaptations of works by Norman Mailer and Joyce Carol Oates to an ever-growing list of documentaries, Monroe has been the subject of countless depictions on stage, screen, radio, and television. Monroe is adored, imitated, and idolized, and the enormous amount of material written about her-either directly or indirectly-proves that she will continue to be a source of interest and speculation. The first real analysis of all the many complex meanings that Marilyn Monroe has come to assume, this book attempts to encapsulate and understand the enormous influence the actress had on the public and the wide range of creative talents who found her such an intriguing subject. This book

Living history museums are cultural institutions that merge historical exhibits with live costumed performance. While unique and vitally important, they often compromise historical accuracy and authenticity for the sake of tourism and entertainment value. Many also pursue methods of performance and historiography that are becoming increasingly outdated. Living History Museums: Undoing History Through Performance examines the performance practices used by institutions such as Plimoth Plantation and Colonial Williamsburg, and offers a new genealogy of living history museum performance in the U.S. and Europe. Currently, existing scholarship on living history museums addresses the subject from a museum-studies or anthropology perspective. Author Scott Magelssen, however, approaches the material from a background in theatre history and theory, analyzing living history museums using postmodern methodology. Considering performance as a method for the study of history and exploring emergent non-traditional theatrical practices, the book offers suggestions for performance in an increasingly postmodern landscape. Concluding with an international listing of living history institutions and a complete list of sources, Living History Museums is a valuable resource for students and teachers of theatre and performance studies, cultural studies, folklore, popular culture, American studies, and museum studies.

Many of Stanley Kubrick's films are often interpreted as cold and ambiguous. Whether viewing Barry Lyndon, 2001, The Shining, or Eyes Wide Shut, there is a sense in which these films resist their own audiences, creating a distance from them. Though many note the coldness of Kubrick's films, a smaller number attempt to explore exactly how his body of work elicits this particular reaction. Fewer still attempt to articulate what it might mean to "e;feel"e; Stanley Kubrick's films. In The Kubrick Facade, Jason Sperb examines the narrative ambiguity of the director's films-from the voice-over narration in early works, including the once forgotten Fear and Desire-to the blank faces of characters in his later ones. In doing so, Sperb shows how both devices struggle in vain to make sense of the chaos and sterility of the cinematic surface.All thirteen of Stanley Kubrick's feature-length films are discussed in chronological order, from the little-seen and long-neglected Fear and Desire to the posthumous release of Eyes Wide Shut. Sperb also discusses Kubrick's importance to Steven Spielberg's AI. While exploring all of Kubrick's films, the author concentrates in particular on The Killing, Dr. Strangelove, 2001, The Shining, Full Metal Jacket, and Eyes Wide Shut.This is also the first book-length study that focuses considerable attention on Fear and Desire and its relevance to Kubrick's larger body of work. In this respect, The Kubrick Facade is one of the first truly comprehensive books on narrative in the maverick director's films. It is also the first book to integrate a discussion of AI, and the first to fully explore the importance of the consistent visual emphasis on blank, silent faces in his post-Lolita films.

In 1984 Joel and Ethan Coen burst onto the art-house film scene with their neo-noir Blood Simple and ever since then they have sharpened the cutting edge of independent film. Blending black humor and violence with unconventional narrative twists, their acclaimed movies evoke highly charged worlds of passion, absurdity, nightmare realms, and petty human failures, all the while revealing the filmmakers penchant for visual jokes and bravura technical strokes. Their central characters may be blind to reality and individual flaws, but their illusions, dreams, fears, and desires map the boundaries of their worldsworlds made stunningly memorable by the Coens.In The Brothers Grim: The Films of Ethan and Joel Coen, Erica Rowell unmasks the filmmakers as prankster mythmakers exploiting and subverting universal storytelling modes to further what seems to be their artistic agenda: to elicit laughs. Often employing satire and allegory, the Coens movies hold a mirror up to American society, allowing viewers to both chuckle and gasp at its absurdities, hypocrisies, and foibles. From business partnerships (Blood Simple, The Ladykillers) to marriage (Intolerable Cruelty) to friendship and ethics (Millers Crossing), the breakdowns of relationships are a steady focus in their work. Often the Coens satires put broken social institutions in their cinematic crosshairs, exposing cracks in ineffective penal systems (Raising Arizona; O Brother, Where Art Thou?), unjust justice systems (The Man Who Wasnt There), a crooked corporate America (The Hudsucker Proxy), unnecessary wars (The Big Lebowski), a tyrannical Hollywood (Barton Fink), and the unbridled, fatuous pursuit of the American Dream (Fargo). While audiences may be excused for missing the duos social commentary, the depth and breadth of the brothers films bespeak an intelligence and cultural acuity that is rich, highly topical, and hard to pigeonhole.

The relationship between John Wesley and George Whitefield has often been viewed as suffering from irreconcilable theological differences. In fact, for several years, the relationship between these two leaders of the revival of the Christian faith in eighteenth-century England was strained almost to the breaking point. Whitefield, a Calvinist, believed that each individual who ever lived was either destined for the glories of heaven or the horrors of hell due to an irrevocable decree of God. Wesley on the other hand argued that each person has placed before them two options: either to accept God's forgiveness or to reject it in favor of following one's own way. Most books in the past have focused on these John Wesley's and George Whitefield's differences, but what has been overlooked is the lasting friendship between these two men, which, after a brief period of separation, was restored for the sake of the continuation of the revival movement on two continents. Catholic Spirit: Wesley, Whitefield, and the Quest for Evangelical Unity in Eighteenth-Century British Methodism focuses on the key themes upon which both men agreed. It stresses the commonalties between the two leaders of British Methodism and illustrates the great lengths both went to in order to further the revival of the Christian religion in England and North America. Both Wesley and Whitefield claim to possess "e;Catholic spirits,"e; that is, they both believed the importance of working with other like-minded individuals to spread the message of salvation through Christ. Author James Schwenk argues that they were successful in promoting that spirit of cooperation, even as some of their followers failed to understand how hard they worked at making "e;molehills out of mountains."e;

The Korean Holiness Church originated as an evangelical holiness movement through indigenous work and the American holiness mission. From its inception, the Korean Holiness Church believed that its primary task was not only to promote "scriptural holiness," as John Wesley and primitive Methodism had preached, but also to preach the "fourfold gospel," which may be summarized as regeneration, sanctification, divine healing, and the premillennial second coming of Christ. The Rise of the Korean Holiness Church in Relation to the American Holiness Movement argues that the theological foundation of the Korean Holiness Church can best be understood by analyzing the fourfold gospel in the history of the Korean Holiness Church and its internationally connected holiness movement. The brief, though rich, biographical accounts of the Korean Christians and American and British Missionaries woven into this book finally give these great men and women their due.