'We’ll always have Paris,' Humphrey Bogart assures Ingrid Bergman in the oft-quoted farewell scene from Casablanca in which Bogart’s character, hard-hearted restaurateur Rick Blaine, bids former lover Ilsa Lund goodbye. The backdrop against which they first fell in love, Paris later serves as a reminder of their deep mutual longings. And with a host of different realisations by filmmakers from Philip Kaufman to Julien Leclercq to Woody Allen, there is no question that Paris has likewise endured in the memories of cinephiles worldwide.   World Film Locations: Paris takes readers on an unforgettable tour of the City of Lights past and present through the many films that have been set there. Along the way, we revisit iconic tourist sites from the Eiffel Tower – whose stairs and crossbars inspired more than one famous chase scene – to the Moulin Rouge overlooking the famously seedy Place Pigalle. Other films explore lesser-known quarters usually tucked away from the tourist’s admiring gaze. Handsomely illustrated with full-colour film stills and contemporary photographs, more than fifty scenes are individually considered with special attention to their use of Paris’s topography as it intersects with characters, narrative and plot. A host of important genres and cinematic movements are featured, including poetic realism, the New Wave, cinéma-verité, the literary works of the Left Bank Group, and Luc Besson’s slickly stylised cinéma du look. Meanwhile, essays foreground contributions from Francophone African directors and émigré filmmakers.   For centuries, Paris has reigned over the popular imagination. For those who have visited or those who have only imagined it through art, literature and film, World Film Locations: Paris presents a wonder-filled cinematic exploration of the mythical city that fans of French cinema – and new initiates – will appreciate.

World Film Locations: Tokyo gives readers a kaleidoscopic view of one of the world’s most complex and exciting cities through the lens of world cinema. 50 scenes from classic and contemporary films explore how motion pictures have shaped the role of Tokyo in our collective consciousness, as well as how these cinematic moments reveal aspects of the life and culture of a city that are often hidden from view. Complimenting these scenes from such varied films as Tokyo Story, You Only Live Twice, Godzilla and Enter the Void are six spotlight essays that take us from the wooden streets of pre-nineteenth-century Edo to the sprawling 'what-if' megalopolis of science fiction anime.

Illustrated throughout with dynamic screen captures World Film Locations: Tokyo is at once a guided tour of Japan’s capital conducted by the likes of Akira Kurosawa, Samuel Fuller, Chris Marker and Sofia Coppola while also being an indispensible record of how Tokyo has fired both the imaginations of individuals working behind the camera and those of us sitting transfixed in movie theatres.

An exciting and visually focused tour of the diverse range of films shot on location in London, World Film Locations: London presents contributions spanning the Victorian era, the swinging ’60s and the politically charged atmosphere following the 2005 subway bombings. Essays exploring key directors, themes and historical periods are complemented by reviews of important scenes that offer particular insight into London's relationship to cinema. The book is illustrated throughout with full-colour film stills and photographs of cinematic landmarks as they appear now – as well as city maps to aid those keen to investigate them.

Governments around the world spend millions on art and cultural institutions, evidence of a basic human need for what the author refers to as 'creating aesthetic significance'. Yet what function or purpose does art satisfy in today’s society? In this thorough and accessible text, Richard Hickman rejects the current vogue for social and cultural accounts of the nature of art-making in favour of a largely psychological approach aimed at addressing contemporary developmental issues in art education. Bringing to bear current ideas about evolutionary psychology, this second edition will be an important resource for anyone interested in arts education.

We Europeans? explores the relationship between media and identity along the fault lines and fissures of the shifting ethnicities, religions, tastes, generations, and languages that make up contemporary Europe. Addressing topics such as film, television, public monuments, and the press, an international group of contributors reveal how European identity is shaped as the continent administratively consolidates. In essays that explore cultural homogenization, longed-for identities, and the fears surrounding transnational media, this volume uncovers the intricate interactions of history and memory as they inform the European present.

A first volume of plays by a startlingly ambitious and inventive dramatist.



The Back of Beyond takes, as its starting point, the route of a sequel to King Lear, in which the surviving Shakespearean characters set out on an odyssey through a perilous, blasted landscape, and encounter new agents of cruelty, desire and magic. Wildly humorous and fiercely shocking, the play charts a series of remorseless exposures, interrogating the idealisms and brutal repressions that have informed Anglo-Welsh relations whilst subverting Shakespearean motifs; tragically humorous poetic language and nightmarish visual imagery contribute to the sense of a land where the signposts have been smashed.   A sequel to The Back of Beyond, The Battle of the Crows extends and concludes the stories of three characters - a maverick witch, a renegade knight, and an abuse victim made empress - in a harrowing and humorous exploration of border warfare, witchcraft, massacre, bitchery, hilarity and heartbreak. The Battle of the Crows is partly a dramatic speculation about desire as magic, partly a sad reckless laugh at internecine hostilities and the passionate and disastrous transformations which spring up in the face of Death itself.

Is writing primarily a functional medium of communication? Is it possible to access fuller potential for it to contribute to the quality of our everyday lives?

Writing as a Visual Art offers a revolutionary approach to writing by exploring a visual and multidimensional experience that is fun and common to people's experience. Clearly written and liberally illustrated chapters show writing text as akin to creating a drawing or painting, or designing a structure.

The result of discoveries made during ten years of research in the fields of linguistics, cognitive science and artificial intelligence, the author's findings have been successfully applied in education programmes in Italy and the rest of Europe, as well as workshops in the United States.  

Recent developments in technology have made this a crucial moment for those people studying language behaviour. This book places the reader at the heart of the investigations into what happens when people use language to communicate via computers.

New communication technologies - video conferencing, email and the World Wide Web - have provided a whole new range of ways to interact with others, and students can now observe the emergence and rapid development of linguistic and social conventions for using these media.

The studies in this volume consider what people say when interacting with others via new technologies, and the ways in which we mould and combine the written, the spoken and the non-verbal in order to express ourselves effectively within the confines of the new media available to us. The breadth of activities covered here is extensive, including:

• informal activities such as email and chat-room use
• educational uses of CMC, for collaborative learning and language practice
• integration of CMC into formal work practice - for instance, in an ambulance dispatch centre.

The scope of the book ranges from Conversation Analysis to Genre Theory and from Social Psychology to Politeness Theory. There is much to contemplate for both designers of new communication as well as those commissioning and buying these technologies for our homes, schools and workplaces.

The collection of work here has been edited to recognise the range of disciplines looking to this field and is of direct interest to any linguist, psychologist or other social scientist working in the study of human communication. 

This book takes a very broad view of information, and considers it as a phenomenon in its own right, rather than the technology for handling it. It is very much concerned with the meaning of information, and what we as individuals do with it.

There is a growing public interest in information as a commodity, arising from the success of the Internet and the World Wide Web and from increased awareness of problems arising from information overload. Despite this interest, there is little general understanding of how information can be structured and accessed. The World as Information tackles this by discussing the impact of information upon the individual in terms of overload and stimulation of ambition and creativity.

The need to coordinate information into structured knowledge is seen as crucial: in the final chapter, the novel situation of the availability of all information, to the individual and to the overall structure of knowledge is looked at. The book is extensively referenced.