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Humour in science and practice -- Questioning children about humour -- Components of humour-categorical film analysis -- Coverage ratio between children's humour preferences and the humour offerings in the analysed films -- Correlations to budget, shooting days and number of visitors.

What links the interviews with Saddam Hussein and Mahmoud Ahmadinejad on British and American TV, the chase of journalists following mega-terrorists, and the new status conferred on ordinary people at war? Transforming Media Coverage of Violent Conflicts offers a timely and original discussion on the shift in war journalism in recent years

The American Civil War was viscerally documented through panorama paintings, photography, and soldier testimonials, leaving behind representational principles that would later inform the development of war film genre codes. This book explores how each of these representational modes cemented different formulas for providing war stories with pathos

"Contemporary American Science Fiction Film explores and interrogates a diverse variety of popular and culturally relevant American science fiction films made in the first two decades of the new millennium, offering a ground-breaking investigation of the impactful role of genre cinema in the modern era. Placing one of the most popular and culturally resonant American film genres broadly within its rich social, historical, industrial, and political context, the book interrogates some of the defining critical debates of the era via an in-depth analysis of a range of important films. An international team of authors draw on case studies from across the science fiction genre to examine what these films can tell us about the time period, how the films themselves connect to the social and political context, how the fears and anxieties they portray resonate beyond the screen, and how the genre responds to the shifting coordinates of the Hollywood film industry. Offering new insights and perspectives on the cinematic science fiction genre, this volume will appeal primarily to scholars and students of film, television, culture and media studies, as well as anyone interested in science fiction and speculative film"--

In this unprecedented survey of British cinema from the 1930s to the New Wave of the 1960s, Marcia Landy explores how cinematic representation and social history converge. Landy focuses on the genre film, a product of British mass culture often dismissed by critics as "unrealistic," showing that in England such cinema subtly dramatized unresolved cultural conflicts and was, in fact, more popular than critics have claimed. Her discussion covers hundreds of works--including historical films, films of empire, war films, melodrama, comedy, science-fiction, horror, and social problem films--and reveals their relation to changing attitudes toward class, race, national identity, sexuality, and gender. Landy begins by describing the status and value of genre theory, then provides a history of British film production that illuminates the politics and personalities connected with the major studios. In vivid accounts of the films within each genre, she analyzes styles, codes, and conventions to show how the films negotiate history, fantasy, and lived experience. Throughout Landy creates a dynamic sense of genre and of how the genres shape, not merely reflect, cultural conflicts. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905

Through an analysis of Cold War Era films including Border Incident , Where Danger Lives , and Touch of Evil , Stephanie Fuller illustrates how cinema across genres developed an understanding of what the U.S.-Mexico border meant within the American cultural imaginary and the ways in which it worked to produce the border.

In this book, Faye Woods explores the raucous, cheeky, intimate voice of British youth television. This is the first study of a complete television system targeting teens and twenty somethings, chronicling a period of significant industrial change in the early 21st century. British Youth Television offers a snapshot of the complexities of contemporary television from a British standpoint - youth-focused programming that blossomed in the commercial expansion of the digital era, yet indelibly shaped by public service broadcasting, and now finding its feet on proliferating platforms. Considering BBC Three, My Mad Fat Diary, The Inbetweeners, Our War and Made in Chelsea, amongst others; Woods identifies a television that is defiantly British, yet also has a complex transatlantic relationship with US teen TV. This book creates a space for British voices in an academic and cultural landscape dominated by the American teenager

This study examines the cultural representations of Chinese military-action films which re-interpret China's non-intervention policy and give China's foreign engagements rationality and legitimation. It involves two narrative strategies: (1) framing the protection of nationals abroad as the key incentive behind China's military actions; and (2) emphasizing an unquestioning commitment to sovereignty, to UN authorization, and to the consent of host countries during the intervening process.Then, it points out the propagandistic features of China's military-action films: framing the outside world as a threatening place in which individuals' survival depends on the protection of a powerful nation; cultivating collective narcissism and nationalism; and reframing China's global economic expansion through a"friendship narrative". (J Contemp China/GIGA)

"Films are integral to national imagination. Promotional publicity markets "domestic films" not only as entertaining, exciting, or moving, but also as topical and relevant in different ways. Reviewers assess new films with reference to other films and cultural products as well as social and political issues. Through such interpretive framings by contemporaries and later generations, popular cinema is embedded both in national imagination and endless intertextual and intermedial frameworks. Moreover, films themselves become signs to be cited and recycled as illustrations of cultural, social, and political history as well as national mentality. In the age of television, "old films" continue to live as history and memory. In Performative Histories, Foundational Fictions, Anu Koivunen analyzes the historicity as well as the intertextuality and intermediality of film reception by focusing on a cycle of Finnish family melodrama and its key role in thinking about gender, sexuality, nation, and history. Close-reading posters, advertisements, publicity-stills, trailers, review journalism, and critical commentary, she demonstrates how The Women of Niskavuori (1938 and 1958), Loviisa (1946), Heta Niskavuori (1952), Aarne Niskavuori (1954), Niskavuori Fights (1957), and Niskavuori (1984) have operated as sites for imagining "our agrarian past", our Heimat and heritage as well as "the strong Finnish woman" or "the weak man in crisis". Based on extensive empirical research, Koivunen argues that the Niskavuori films have mobilized readings in terms of history and memory, feminist nationalism and men's movement, left-wing allegories and right-wing morality as well as realism and melodrama. Through processes of citation, repetition, and re-cycling the films have acquired not only a heterogeneous and contradictory interpretive legacy, but also an affective force."