Filming Difference: Actors, Directors, Producers and Writers on Gender, Race and Sexuality in Film

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By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Hilary Neroni employs the methodology of looking for a feminist alternative among female-oriented films. Picking up one of the currents in feminist film theory - that of looking for feminist alternatives among female-oriented films - Neroni traces feminist responses to the contradictions inherent in most representations of women in film, and she details how their responses have intervened in changing what we see on the screen.

The book's lucid presentation of the key concerns of feminist film theory, along with its balanced reading of Pretty Woman , shed light on a Hollywood genre often overlooked by film critics: the romantic comedy. The Key Concepts. Film: The Key Concepts presents a coherent, clear and exciting overview of film theory for beginning readers. The book takes the reader through the often conflicting analyses which make up film theory, illustrating arguments with examples from mainstream and independent films.

Concise and comprehensive, the book guides the reader through realism, formalism, structuralism, semiotics, Marxism, psychoanalysis, feminism, cognitivism, post-colonialism, postmodernism, gender and queer film theory, stardom and film audience research. The book as a whole provides a complete overview of the evolution of film theory. Throughout, the analysis is illustrated with lively boxed studies of key mainstream and independent films. Bulleted chapter summaries, questions and guides to further reading are also provided.

Most histories of Soviet cinema portray the s as a period of stagnation with the gradual decline of the film industry. This book, however, examines Soviet film and television of the era as mature industries articulating diverse cultural values via new genre models.

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During the s, Soviet cinema and television developed a parallel system of genres where television texts celebrated conservative consensus while films manifested symptoms of ideological and social crises. The book examines the genres of state-sponsored epic films, police procedural, comedy and melodrama, and outlines how television gradually emerged as the major form of Russo-Soviet popular culture.

Through close analysis of well-known film classics of the period as well as less familiar films and television series, this ground-breaking work helps to deconstruct the myth of this era as a time of cultural and economic stagnation and also helps us to understand the persistence of this myth in the collective memory of Putin-era Russia. This monograph is the first book-length English-language study of film and television genres of the late Soviet era. When representing the Holocaust, the slightest hint of narrative embellishment strikes contemporary audiences as somehow a violation against those who suffered under the Nazis.

This anxiety is, at least in part, rooted in Theodor Adorno's dictum that "To write poetry after Auschwitz is barbaric.

And yet, whether it's the girl in the red dress or a German soldier belting out Bach on a piano during the purge of the ghetto in Schindler's List, or the use of tracking shots in the documentaries Shoah and Night and Fog, all genres invent or otherwise embellish the narrative to locate meaning in an event that we commonly refer to as "unimaginable. How can film and video be defined as distinct, specific media? In this era of mixed moving media, it is vital to ask these questions precisely and especially on the media of video and film.


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Mapping the specificity of film and video is indispensable in analyzing and understanding the many contemporary intermedial objects in which film and video are mixed or combined. The authors consider such film music with a focus on the role it has played creating, problematizing, and sometimes contesting, the nation.

Broad in scope, it includes chapters that analyze the contribution of specific composers and songwriters to their national cinemas, and the way music works in films dealing with national narratives or issues; the role of music in the shaping of national stars and specific use of genres; audience reception of films on national music traditions; and the use of music in emerging digital video industries. Filmspeak is an accessible, innovative book which uses specific examples to show how once arcane literary and cultural theory has infiltrated popular culture.

Theory reaches us in ways we do not even realize. Issues such as the nature of knowledge or truth, the function of personal response in interpretation, the nature of the forces of politics, the female alternative to the male view of the world, are fundamental for all of us. And intelligent analysis of the relationship between literary theory and popular culture can help us to understand our fast-changing world. Here, experienced literary scholar and teacher Edward L. Tomarken explains how it is possible to study the rudiments of literary theory by watching and analyzing contemporary mainstream movies - from The Dark Knight to Kill Bill , and from The Social Network to The Devil Wears Prada.

Theorists discussed include Foucault, Jameson, Iser, and Cixous. Tomarken brilliantly demonstrates that anyone can grasp modern literary theory by way of mainstream movies without having to wade through stacks of impenetrable jargon. Portraits from the Inside. A film director's memoir which opens amidst the enchanted cafe society of pre-war Budapest and then propels the reader through De Toth's eventful life. Moving from Vienna, Paris and London to Hollywood, he introduces many of the legendary figures of cinema's golden age. Documentary Film in Interwar France.

Framing the Nation: Documentary Film in Interwar France argues that, between World Wars I and II, documentary film made a substantial contribution to the rewriting of the French national narrative to include rural France and the colonies. The book mines a significant body of virtually unknown films and manuscripts for their insight into revisions of French national identity in the aftermath of the Great War.

From onwards, government institutions sought to advance social programs they believed were crucial to national regeneration. They turned to documentary film, a new form of mass communication, to do so. Many scholars of French film state that the French made no significant contribution to documentary film prior to the Vichy period.

Using until now overlooked films, Framing the Nation refutes this misconception and shows that the French were early and active believers in the uses of documentary film for social change - and these films reached audiences far beyond the confines of commercial cinema circuits in urban areas. As a narrative of American success, it is also a film about failure. Which are the most popular French films? How do you write an essay on a French film? What is a high-angle shot in French? When did more French spectators go to see American films than French films?

How do you talk about a short sequence of film? You can find the answers to these and many more questions in this essential resource for students of French cinema. The main corpus of film adaptation thus far has focused on films based on canonical literature. From Film Adaptation to Post-Celluloid Adaptation takes the next logical step by discussing the emerging modes of film adaptation from older media to new, mainly focusing on the computer-generated reconstructions of popular narratives and characters along with other forms of convergence such as the Internet.

Discussing films like Minority Report, King Kong, and Wanted in relation to Film Adaptation theory, the work aims to challenge and rework the definition of adaptation. The Filmic Concepts of Michael Haneke. Taking its cues from the cinematic innovations of the controversial Austrian-born director Michael Haneke, Funny Frames explores how a political thinking manifests itself in his work.

The book is divided into two parts. In the first, Oliver C. Like several other contemporary European directors, Haneke addresses topics considered difficult when measured by the standards of commercial cinema: the traumatic effects of violence, racism, and alienation.

Funny Frames is an incisive and original contribution to the growing scholarship on one of the most intriguing auteurs of our time. From Victorian London to s Hollywood. In Gaslight Melodrama , Guy Barefoot examines the films that gave rise to such comments, and the pattern of discourses that gave rise to such films. The book's main focus is provided by s Hollywood melodramas such as Gaslight , Dr.

Jekyll and Mr. Hyde and Hangover Square. It also discusses a related cycle of British films that located murder and melodrama amidst Victorian or Edwardian furnishings, and then looks beyond cinema to the Gothic novels of the 18th century, 19th century discussions of gaslighting in street, home and theater, and ambivalent 20th century responses to theVictorian era.

Combining close analysis of particular film texts with attention to cinema's cultural context, Gaslight Melodrama provides an exploration of the ways in which the past has been the site of contested meaning, and an examination of the network of melodramatic narratives embedded within familiar and lesser-known examples of classical Hollywood cinema.

While talent definitely plays a part in the writing process, it can be the well-executed formulaic approaches to the popular genres that will first get you noticed in the industry. Genre Screenwriting: How to Write Popular Screenplays That Sell does not attempt to probe in the deepest psyche of screenwriters and directors of famous or seminal films, nor does it attempt to analyze the deep theoretic machinations of films. Duncan's simple goal is to give the reader, the screenwriter, a practical guide to writing each popular film genre.

Employing methods as diverse as using fairy tales to illustrate the 'how to' process for each popular genre, and discussing these popular genres in modern television and its relation to its big screen counterpart, Duncan provides a one-stop shop for novices and professionals alike. Steven Soderbergh and Richard Lester are a generation apart, but they share a sense of humour and a passion for cinema.

Here, the two cineastes discuss their mutual passion for the medium in a frank, funny and free-ranging series of interviews. International Perspectives at Animafest Zagreb. The contact between practical and theoretical approaches to animation at Animafest Scanner, is closely connected to host of this event, the World Festival of Animated Film Animafest Zagreb. It has given way to academic writing that is very open to practical aspects of animation, with several contributors being established not only as animation scholars, but also as artists.

This anthology presents, alongside an introduction by the editors and a preface by well known animation scholar Giannalberto Bendazzi, 15 selected essays from the first three Animafest Scanner editions. They explore various significant aspects of animation studies, some of them still unknown to the English speaking communities. The Transnational Dimension of Spanish Cinema. The acute processes of globalisation at the turn of the century have generated an increased interest in exploring the interactions between the so-called global cultural products or trends and their specific local manifestations.

Even though cross-cultural connections are becoming more patent in filmic productions in the last decades, cinema per se has always been characterized by its hybrid, transnational, border-crossing nature. From its own inception, Spanish film production was soon tied to the Hollywood film industry for its subsistence, but other film traditions such as those in the Soviet Union, France, Germany and, in particular, Italy also determined either directly or indirectly the development of Spanish cinema.

Global Genres, Local Films: The Transnational Dimension of Spanish Cinema reaches beyond the limits of the film text and analyses and contextualizes the impact of global film trends and genres on Spanish cinema in order to study how they helped articulate specific national challenges from the conflict between liberalism and tradition in the first decades of the 20th century to the management of the contemporary financial crisis. This collection provides the first comprehensive picture of the complex national and supranational forces that have shaped Spanish films, revealing the tensions and the intricate dialogue between cross-cultural aesthetic and narrative models on the one hand, and indigenous traditions on the other, as well as the political and historical contingencies these different expressions responded to.

This book reads a series of Godard films as interventions in contemporary debate about the language of difference. Godard has something he wants both to preserve singularity and destroy visual and aural totalitarianism. How is it possible to speak about the Other? How is it possible for the Other to speak? Does all speaking about or by the Other render that speaking common, thereby rendering what is different identical? These questions gather together a number of issues that cross and intersect disciplinary boundaries: signification, representation, ethics, politics, and so on.

The problematics with which Drabinski is concerned begin in the debate between Levinas and Derrida, then later in dialogue with Blanchot and Irigaray. To this extent, Godard is particularly well-suited as an interlocutor. Godard's work, especially in the s, is itself a self-conscious form of philosophy. His films theorize themselves, produce a reflexive sound-image language, and so in many ways match the very essence of philosophy: thought thinking thought. Still, the medium of sound and image complicates any rendering of Godard's work as philosophy.

Godard produces a philosophically significant cinematic language, rather than simply narrating or representing philosophical ideas in the medium of film. And this language must be taken seriously in the context of the problem of difference. For, if difference is concerned with signification as such, then the visual and aural retain equal rights with writing and all questions obtaining therein. Indeed, if part of the problem of speaking about or by the Other is how such speaking traffics in inscription, then cinematic language is certainly an important - and authentically complex - intervention in that problem.

The nature of the debate in this project - how the language of alterity is possible or impossible - immediately breaks disciplinary borders between philosophy, literary theory, film studies, and cultural studies. What it means to engage with film in this context, however, is complicated. To wit, there are two standard treatments of film in philosophy.

Show and Tell: An Evening about Citizenship with Documentary Filmmakers -- Radcliffe Institute

Film is typically either an example of a philosophical position or philosophy is used to interpret motifs, characters, plot lines, etc. In neither case is film engaged as a form of philosophizing itself, that is, as a language engaged with philosophical problematics. It is articulating exactly this engagement that this book takes as its primary task. The aim of the project is to read Godard's work as primary texts, with all the attention due the idiosyncratic language of those texts.

Framed by the debate about difference and signification, these primary texts register and resonate as transformative interventions. The overarching argument of the book is that Godard's conception and practice of cinematic language opens new, important possibilities for thinking about radical alterity. Cultural Exchange on 42nd Street, and Beyond. Others offer new inroads into hitherto unexamined examples of exploitation film history, presenting snapshots of cultural moments that many of us thought we already knew.

Film as Alchemic Art. The book explores the sources that del Toro draws upon and transforms in the creation of his rich and complex body of work. However, the animated features directed by Miyazaki represent only a portion of his year career. Becoming Meryl Streep. Her Again is an intimate look at the artistic coming-of-age of the greatest actress of her generation, from the homecoming float at her suburban New Jersey high school to her star-making roles in The Deer Hunter, Manhattan, and Kramer vs. The book charts Meryl Streep's heady rise to stardom on the New York stage, her passionate, tragically short-lived love affair with fellow actor John Cazale, and her evolution as a young woman of the s wrestling with changing ideas of feminism, marriage, love, and sacrifice.

This is a captivating story of the making of one of the most revered artistic careers of our time, offering a rare glimpse into the life of the actress long before she became an icon. Although precise definitions have not been agreed on, historical cinema tends to cut across existing genre categories and establishes an intimidatingly large group of films. In recent years, a lively body of work has developed around historical cinema, much of it proposing valuable new ways to consider the relationship between cinematic and historical representation.

However, only a small proportion of this writing has paid attention to the issue of genre. In order to counter this omission, this book combines a critical analysis of the Hollywood historical film with an examination of its generic dimensions and a history of its development since the silent period. Historical Film: A Critical Introduction is concerned not simply with the formal properties of the films at hand, but also the ways in which they have been promoted, interpreted and discussed in relation to their engagement with the past.

A Tale of Two Disciplines. History and Film: A Tale of Two Disciplines addresses the representation of history in cinema, a much-argued debate on the need to understand cinematic history in its own terms and develop a certain vocabulary for discussing historical films, their relation to public history, and their impact on public historical consciousness. Eleftheria Thanouli does this by changing the agenda altogether - combining a macro-level perspective with a micro-level one in order to argue that cinematic history is the dominant form of historiography in the 20th century, as it succeeded in remediating and repurposing the key formal, rhetorical, and ideological practices of 19th-century professional historiography.

The Corpulent Plots of Desire and Dread. Whereas most critics and biographers of the great director are content to consign his large figure and larger appetite to colorful anecdotes of his private life, McKittrick argues that our understanding of Hitchcock's films, his creative process, and his artistic mind are incomplete without considering his lived experience as a fat man. Using archival research of his publicity, script collaboration, and personal communications with his producers, in tandem with close textual readings of his films, feminist critique, and theories of embodiment, Hitchcock's Appetites produces a new and compelling profile of Hitchcock's creative life, and a fuller, more nuanced account of his auteurism.

The structure and rhythm of his films is an important addition to the critical literature on Hitchcock and our understanding of his films and approach to filmmaking. Alfred Hitchcock liked to describe his work as a director in musical terms; for some of his films, it appears that he started with an underlying musical conception, and transformed that sense of music into visual images. For example, the waltz and the piano are used as powerful images in silent films, and this approach carries over into sound films.

Looking at such films as Vertigo , Rear Window , and Shadow of a Doubt , Schroeder provides a unique look at the way that Hitchcock thought about cinema in musical terms. A Social History. Between and seventy-five million babies were born, dwarfing the generations that preceded and succeeded them.

While aspects of this history are well-documented, the relationship between the baby boom and Hollywood has never been explored. The authors demonstrate the profound influence of the boomers on the ways that movies were made, seen and understood since the s. The result is a compelling new account that draws upon an unprecedented range of sources, and offers new insights into the history of American movies. This book is a celebration of nearly one hundred years of images of Italians in American motion pictures.

Dozens of films are discussed, including, very often, their literary and European-cinematic roots. The Economic Image and the Digital Recession. Money can be given a particular occasion and career, as box office receipts, casino winnings, tax credits, stock prices, lotteries, inheritances. Or money can become number, and numbers can be anything: pixels, batting averages, votes, likes. Through explorations of all these and more, J. Touched off by an engagement with the work of Gilles Deleuze, Connor demonstrates the centrality of the economic image to Hollywood narrative.

More than just a thematic study, this is a conceptual history of the industry that stretches from the dawn of the neoclassical era through the Great Recession and beyond. Along the way, Connor explores new concepts for cinema studies: precession and recession, pervasion and staking, ostension and deritualization. Dreiser, Eisenstein, Sternberg, Stevens. Theodore Dreiser's dissection of the American dream, An American Tragedy, was hailed as the greatest novel of its generation. Now a classic of American literature, the story is one to which Hollywood has repeatedly returned.

Hollywood's obsession with this tale of American greed, justice, religion and sexual hypocrisy stretches across the history of cinema. Some of cinema's greatest directors - Sergei Eisenstein, Josef von Sternberg and George Stevens - have attempted to bring this classic story to the screen.

Subsequently, both Jean-Luc Godard and Woody Allen have returned to the story and to these earlier adaptations. Hollywood's American Tragedies is the first detailed study of this extraordinary sequence of adaptations. What it reveals is a history of Hollywood - from its politics to its cinematography - and, much deeper, of American culture and the difficulty of telling an American tragedy in the land of the American dream.

Fans Behind the Camera. Fan Films: Fun, free and totally illegal! Who would swing off a six-story building for a homemade Spider-Man movie? Regular people are making movies that the fans want to see—and which copyrights and common sense would never allow. Fans Behind The Camera traces the fan film movement from the s, when con men made fake Little Rascals movies, to the internet video sensations of today. Elizabeth Taylor in Hollywood Elizabeth Taylor has never been short on star power, but in this unprecedented biography, the spotlight is entirely on her—a spirited beauty full of magic, professional daring, and wit.

Acclaimed biographer William Mann follows Elizabeth Taylor publicly as she makes her ascent at MGM, falls into and out of marriages, wins Oscars, fights studio feuds, and combats America's conservative values with her decidedly modern love affairs. But he also shines a light on Elizabeth's rich private life, revealing a love for her craft and a loyalty to the underdog that fueled her lifelong battle against the studio system. Swathed in mink, disposing of husbands but keeping the diamonds—this is Elizabeth Taylor as she lived and loved, breaking and making the rules in the game of supreme celebrity.

Instead, it is a comprehensive book for the rewriting process of a screenplay. It therefore assumes that the reader of this book has completed a script. Whether novice or experienced, any screenwriter will benefit from the material in this book.

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Likewise, it will help whether the completed screenplay is original or an adaptation. How to Be Your Own Script Doctor is structured and presented in a manner that comprehensively and cohesively explores each aspect of any figure film screenplay. Revised and Expanded. There are hundreds of books on the market, all trying to teach you how to write a screenplay.

Several of them are excellent and useful books. But never — until now — has there been a screenwriting manual written in the form of a screenplay. Our hero, the aspiring screenwriter Danny, is hopelessly in love with Bebe, a hot young starlet. Helped along the way by a mysterious guide Virgil with seemingly magical powers, Danny travels to Screenwriting Hell to see what happens to writers who never make the grade. Virgil teaches him the tricks of the trade, the fundamental techniques that all screenwriters have to master, no matter how great their ideas.

The Faber Book of Documentary. Imagining Reality takes the reader on a tour of the evolution of documentary film as an increasingly vibrant, polemical, experimental and entertaining form. Forms and Functions of Female Celebrity. This timely collection explores the politics of female celebrity across a range of contemporary and historical media contexts. This collection seeks to interrogate such phenomena by forging a greater conceptual, theoretical and historical dialogue between celebrity studies and critical gender studies.

It takes as its starting point the understanding that female celebrity is a particularly fraught cultural phenomenon with ideological and industrial implications that warrant careful scrutiny. The lucky students who get into film school and then get through it without dropping out have to compete for a small number of prestigious jobs once they graduate. Despite the enormous odds stacked against them, most students leave film school still hoping to become the next Spielberg or Scorsese. The mismatch between their dreams and the reality of working in the industry itself is considerable.

Through a series of in-depth, candid, and entertaining interviews with film industry insiders, the book reveals a range of career paths taken by scriptwriters, production designers, producers, and marketers. All of the interviewees share with the reader the specific qualities and crucial insider information that distinguish successful film graduates from the rest of the pack. Italian Cinema presents an overview and analysis of one of the most prolific and influential of national cinemas.

Italian film has always drawn on a wide range of popular themes - from ancient history to the mafia, the family, the Risorgimento, terrorism, corruption and immigration - and on an equally diverse range of film genres - from comedy to westerns, horror, soft-porn, epics and thrillers. Commercial constraints, state and European funding, international competition, as much as cultural and political trends, have all influenced the sorts of film that get made and exported. Outlining the artistic, cultural, technical and commercial context of film, Italian Cinema presents a history from silent to contemporary film.

As well as illuminating the work of classic directors such as Visconti, Fellini, Rossellini, Antonioni and Rosi, the book explores the interaction between art and popular cinema, visual style and spectacle, space and architecture, gender representations and politics. This is the first in-depth, book-length study on fashion and Italian cinema from the silent film to the present. Italian cinema launched Italian fashion to the world. The book is the story of this launch. The creation of an Italian style and fashion as they are perceived today, especially by foreigners, was a product of the post World War II years.

Before then, Parisian fashion had dominated Europe and the world. Just as fashion was part of Parisian and French national identity, the book explores the process of shaping and inventing an Italian style and fashion that ran parallel to, and at times took the lead in, the creation of an Italian national identity.

Nashville, Jaws, Star Wars and beyond. Ryan Gilbey now looks afresh at the remarkable movies of this era, and their gifted makers. Today these directors are sometimes lambasted as sell-outs or burn-outs, but their best films of the Seventies — from American Graffiti to The Conversation , Nashville to Carrie, Badlands to Taxi Driver — still feel as urgent and innovative as they did on first release, and still inspire young film-makers at a time when movies are once more depressingly formulaic.

These directors cultivated a fascinating eclecticism, driven by creative hunger and insatiable imagination. But what in the American scene were they reacting against, and just as crucially, what were they celebrating or pillaging from other sources? Gilbey also considers directors who established a body of work in the Seventies Woody Allen , who blossomed as the decade progressed David Lynch, Jonathan Demme , or who were prominent figures without being prolific Stanley Kubrick, Terrence Malick. He takes each film and assesses its place in history while also scrutinising it as if for the very first time - as if it were coming to a cinema near you this Friday….

Cultural Reception and Interpretation. Here these ideas are examined in the context of the history of thought and cinema. The variety of applications in this study is remarkable, engaging thinkers ranging from conservative Christians to postmodernist critics. Feminist issues meet cyberpunk, cosmological perspectives meet mythological and literary analysis. Violence in society, American values, politics, heroic models - all are called into question as several esteemed scholars decode the entire world of the Matrix franchise. The Child in Film and Media. Kidding Around: The Child in Film and Media is a collection of essays generated by a conference of the same title held at the University of the District of Columbia.

The works gathered examine a variety of children's media, including texts produced for children e. The primary goal of Kidding Around is to analyze and contextualize contested representations of childhood and children in various twentieth- and twenty-first-century media while accounting for the politics of these narratives. Each of the essays gathered offers a critical history of the very notion of childhood, at the same time as it analyzes exemplary children's texts from the twentieth and twenty-first centuries.

These chapters depart from various methodological approaches including psychoanalytic, sociological, ecological, and historical perspectives , offering the reader numerous productive approaches for analyzing the moments of cultural conflict and impasse found within the primary works studied.

Despite the fact that today children are one of the most coveted demographics in marketing and viewership, academic work on children's media, and children in media, is just beginning.

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Kidding Around assembles experts from this inchoate field, opening discussion to traditional and non-traditional children's texts. Philosophical Themes and Formal Qualities. Additional Information. Addressing representation and identity in a variety of production styles and genres, including experimental film and documentary, independent and mainstream film, and television drama, Filming Difference poses fundamental questions about the ways in which the art and craft of filmmaking force creative people to confront stereotypes and examine their own identities while representing the complexities of their subjects.

Selections range from C. Technical aspects of the craft are considered as well, including how contributors to filmmaking plan and design films and episodic television that feature difference, and how the tools of cinema—such as cinematography and lighting—influence portrayals of gender, race, and sexuality.

The struggle between economic pressures and the desire to produce thought-provoking, socially conscious stories forms another core issue raised in Filming Difference. Speaking with critical rigor and creative experience, the contributors to this collection communicate the power of their media.

Table of Contents. Cover Download Save. Frontmatter Download Save. Contents pp. Acknowledgments p. PART 1. Chapter 1. Chapter 2. The mouse that roared: Disney and the end of innocence. Grewal, I.


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Transnational America: Feminisms, diasporas, neoliberalisms. Durham: Duke University Press. Hall, S. Representation: Cultural representations and signifying practices. London: Sage. Hastings, G. Journal of Public Health Policy, 26 3 , — Hill, J. Endangered childhoods: How consumerism is impacting child and youth identity. Holt, D. Poststructuralist lifestyle analysis: Conceptualizing the social patterning in ostmodernity.

Journal of Consumer Research, 23 , — Hooks, B.

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Reel to real: Race, sex, and class at the movies. New York: Routledge. Isaksen, K. The commodification of self-esteem: Branding and british teenagers. Psychology and Marketing, 29 , — Jackson, M. Marketing alcohol to young people: Implications for industry regulation and research policy. Addiction, 95 Supplement 4 , S—S Johnson, J. Television, how it works. New York: J. Johnson, R. The practice of cultural studies. Thousand Oaks: Sage. Kachru, Y. Mixers lyricizing Hinglish: Blending and fusion in Indian pop culture.