Bøger af Steven Sanders

We all know about a certain Snow who after her apple induced sleep hooked up with her Prince. What happened next? Why, she had a daughter. This is the story of that daughter's adventures and quest with dwarves, a Wicked Elf and a huge hairy monster called The Snaggle.

This reader is the first to bring together a selection of Mann's own interviews where he reflects on his film and television productions. The sixteen interviews provide historical context, interpretation and evaluation of the auteur's work. They encompass his entire career as a feature filmmaker and television producer/director as he and others reflect on his themes, working methods, artistic development and career achievements. The book aims to open up Mann's body of work, making it available for comparison with the work of his contemporaries, and to provide fresh insights into his film and television work. A substantive introductory essay, chronology and filmography provide additional bases for understanding the interviews, essays and work of this major filmmaker.

The science fiction genre maintains a remarkable hold on the imagination and enthusiasm of the filmgoing public, captivating large audiences worldwide and garnering ever-larger profits. Science fiction films entertain the possibility of time travel and extraterrestrial visitation and imaginatively transport us to worlds transformed by modern science and technology. They also provide a medium through which questions about personal identity, moral agency, artificial consciousness, and other categories of experience can be addressed. In The Philosophy of Science Fiction Film, distinguished authors explore the storylines, conflicts, and themes of fifteen science fiction film classics, from Metropolis to The Matrix. Editor Steven M. Sanders and a group of outstanding scholars in philosophy, film studies, and other fields raise science fiction film criticism to a new level by penetrating the surface of the films to expose the underlying philosophical arguments, ethical perspectives, and metaphysical views. Sanders's introduction presents an overview and evaluation of each essay and poses questions for readers to consider as they think about the films under discussion.The first section, "e;Enigmas of Identity and Agency,"e; deals with the nature of humanity as it is portrayed in Blade Runner, Dark City, Frankenstein, Invasion of the Body Snatchers, and Total Recall. In the second section, "e;Extraterrestrial Visitation, Time Travel, and Artificial Intelligence,"e; contributors discuss 2001: A Space Odyssey, The Terminator, 12 Monkeys, and The Day the Earth Stood Still and analyze the challenges of artificial intelligence, the paradoxes of time travel, and the ethics of war. The final section, "e;Brave Newer World: Science Fiction Futurism,"e; looks at visions of the future in Metropolis, The Matrix, Alphaville, and screen adaptations of George Orwell's 1984.

Its pervasiveness suggests the vitality of the noir depiction of human experience and the importance of TV for transmitting the legacy of film noir and producing new forms of noir.