Bøger af Richard Abel

A royal family struggle amongst high powered & advanced beings on a planet called Gia, 200 years from Earth, cause's a war amongst siblings and marks Earth as the new battle ground. With the loss of his memory, the first half of the story is told through a royal guard and cousin to the siblings, Taylor. Taylor finds himself attending college with his family only to regain his memory and in a battle with an evil counterpart that wants nothing but the destruction of the world as his true identity is the Shadow Demon King. It's up to Reku and Josh to re-train Taylor and hope that he can vanquish the demon. With the second half, told through Reku's sister, and Taylor's wife, Sarah, even more battles await the family as they battle each other and gods. Who will survive...And who will die?

Motor City Movies, 1916-1925 is a broad textured look at Hollywood coming of age in a city with a burgeoning population and complex demographics. Richard Abel investigates the role of local Detroit organizations in producing, distributing, exhibiting, and publicizing films in an effort to make moviegoing part of everyday life.

At the turn of the past century, the main function of a newspaper was to offer ';menus' by which readers could make sense of modern life and imagine how to order their daily lives. Among those menus in the mid-1910s were several that mediated the interests of movie manufacturers, distributors, exhibitors, and the rapidly expanding audience of fans. This writing about the movies arguably played a crucial role in the emergence of American popular film culture, negotiating among national, regional, and local interests to shape fans' ephemeral experience of moviegoing, their repeated encounters with the fantasy worlds of ';movieland,' and their attractions to certain stories and stars. Moreover, many of these weekend pages, daily columns, and film reviews were written and consumed by women, including one teenage girl who compiled a rare surviving set of scrapbooks. Based on extensive original research, Menus for Movieland substantially revises what moviegoing meant in the transition to what we now think of as Hollywood.

These two volumes examine a significant but previously neglected moment in French cultural history: the emergence of French film theory and criticism before the essays of Andr Bazin. Richard Abel has devised an organizational scheme of six nearly symmetrical periods that serve to "e;bite into"e; the discursive flow of early French writing on the cinema. Each of the periods is discussed in a separate and extensive historical introduction, with convincing explications of the various concepts current at the time. In each instance, Abel goes on to provide a complementary anthology of selected texts in translation. Amounting to a portable archive, these anthologies make available a rich selection of nearly one hundred and fifty important texts, most of them never before published in English.

The recipient of the Jay Leyda Prize in Cinema Studies from the US Anthology Film Archives, this two-volume work explores the emergence of French film theory before the essays of Andre Bazin. The anthology contains selections from 150 texts, many published in English for the first time.

Demonstrates how crucial French films were in making 'going to the movies' popular in the United States, first in vaudeville houses and then in nickelodeons. This book exposes the consequences of that popularity. It offers a revealing cultural history of American cinema's nationalization.

Presents the history of French cinema between 1896 and 1914, particularly during the years when Pathe-Freres, the first major corporation in the industry, led the world in film production and distribution. This book tells how early French film entertainment changed from a cinema of attractions to the narrative format that Hollywood would exploit.

A detailed account of the use of law to defend anti-apartheid struggle, including case studies which include challenges to Pass Laws, black trade union's demands for recognition, censorship, state terror and conscientious objection.

Analyzes film distribution and exhibition practices in order to reconstruct a context for understanding moviegoing at a time when American cities were coming to grips with new groups of immigrants and women working outside the home. This book talks about the history of the film industry, and about the process of imaging a national community.