Kirjahaku

A concise yet authoritative introduction to the use of film for historians, designed to equip students with the methods both to analyse film texts and to understand the place of film in history and culture. Chapman explores the main theoretical debates and approaches, and charts the development of film history as a discipline in its own right.

When Dr. No premiered at the London Pavilion on October 5, 1962, no one predicted that it would launch the longest-running series in cinema history. It introduced the James Bond formula that has been a box-office fixture ever since: sensational plots, colorful locations, beautiful women, diabolical villains, thrilling action set pieces, and a tongue-in-cheek tone. An explosive cocktail of action, spectacle, and sex, Dr. No transformed popular cinema.James Chapman provides a lively and comprehensive study of Dr. No, marshaling a wealth of archival research to place the film in its historical moment. He demonstrates that, contrary to many fan myths, the film was the product of a carefully considered transnational production process. Chapman explores the British super-spy’s origins in Ian Fleming’s snobbery-with-violence thrillers, examining the process of adaptation from page to screen. He considers Dr. No in the contexts of the UK and Hollywood film industries as well as the film’s place in relation to the changing social and cultural landscape of the 1960s, particularly Cold War anxieties and the decline of the British Empire. The book also analyzes the film’s problematic politics of gender and race and considers its cultural legacy.This thorough and insightful account of Dr. No will appeal to film historians and Bond fans alike.

When Dr. No premiered at the London Pavilion on October 5, 1962, no one predicted that it would launch the longest-running series in cinema history. It introduced the James Bond formula that has been a box-office fixture ever since: sensational plots, colorful locations, beautiful women, diabolical villains, thrilling action set pieces, and a tongue-in-cheek tone. An explosive cocktail of action, spectacle, and sex, Dr. No transformed popular cinema.James Chapman provides a lively and comprehensive study of Dr. No, marshaling a wealth of archival research to place the film in its historical moment. He demonstrates that, contrary to many fan myths, the film was the product of a carefully considered transnational production process. Chapman explores the British super-spy’s origins in Ian Fleming’s snobbery-with-violence thrillers, examining the process of adaptation from page to screen. He considers Dr. No in the contexts of the UK and Hollywood film industries as well as the film’s place in relation to the changing social and cultural landscape of the 1960s, particularly Cold War anxieties and the decline of the British Empire. The book also analyzes the film’s problematic politics of gender and race and considers its cultural legacy.This thorough and insightful account of Dr. No will appeal to film historians and Bond fans alike.

Swashbucklers is the first study of one of the most popular and enduring genres in television history – the costume adventure series. It maps the history of swashbuckling television from its origins in the 1950s to the present. It places the various series in their historical and institutional contexts and also analyses how the form and style of the genre has changed over time. And it includes case studies of major swashbuckling series including The Adventures of Robin Hood, The Buccaneers, Ivanhoe, William Tell, Zorro, Arthur of the Britons, Dick Turpin, Robin of Sherwood, Sharpe, Hornblower, The Count of Monte Cristo and the recent BBC co-production of The Three Musketeers.

Title: Travels in the Interior of South Africa, comprising fifteen years' hunting and trading; with journeys across the continent from Natal to Walvisch Bay, and visits to Lake Ngami and the Victoria Falls ... Illustrated with maps and numerous engravings.Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The HISTORY OF CENTRAL & SOUTH AMERICA collection includes books from the British Library digitised by Microsoft. Titles in this collection provide cultural, statistical, commercial, chronological and geo-economic histories of Central and South America. This series also includes texts, reports, letters, and illustrated and interpretive histories of indigenous peoples, and the natural and built environments that have fascinated historians for centuries. Along with written records, the collection features transcribed oral histories and traditions spanning the range of cultures and civilisations in the southern hemisphere. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Chapman, James; 1868. 2 vol.; 8 . 10096.dd.21.

Title: Travels in the Interior of South Africa, comprising fifteen years' hunting and trading; with journeys across the continent from Natal to Walvisch Bay, and visits to Lake Ngami and the Victoria Falls ... Illustrated with maps and numerous engravings.Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The HISTORY OF TRAVEL collection includes books from the British Library digitised by Microsoft. This collection contains personal narratives, travel guides and documentary accounts by Victorian travelers, male and female. Also included are pamphlets, travel guides, and personal narratives of trips to and around the Americas, the Indies, Europe, Africa and the Middle East. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Chapman, James; 1868. 2 vol.; 8 . 10096.dd.21.

James Chapman's history of Doctor Who has been acclaimed by fans and scholars alike as a definitive book on the world's longest-running television science fiction series. In this new edition, published to mark the 50th anniversary of everyone's favourite Time Lord, Chapman has brought the story up to date to include the new series of Doctor Who as well as its spin offs Torchwood and The Sarah Jane Adventures. With new material on the eras of showrunners Russell T. Davies and Steven Moffat, and the latest incarnations of the Doctor in David Tennant and Matt Smith, this updated edition of Inside the Tardis shows how Doctor Who has triumphantly reinvented itself for the twenty-first century. Doctor Who has not only become essential viewing once again, but it is also one of television's most successful exports. Chapman maps both the continuities with classic Doctor Who, as well as exploring how the series has evolved to take account of new institutional and cultural contexts.Written by someone who is a life-long Doctor Who fan as well as a historian, this new edition of Inside the Tardis is essential and enjoyable reading for all those interested in both the classic series and its thoroughly modern reincarnation.

In this new edition of Licence To Thrill, James Chapman builds upon the success of his classic work, regarded as the definitive scholarly study of the history of the James Bond film series from the first picture, Dr No (1962), to the present. He considers the origins of the films in the spy thrillers of Ian Fleming and examines the production histories of the films in the contexts of the British and international film industries.This edition includes a new introduction and chapters on Quantum of Solace (2008), Skyfall (2012), Spectre (2015) and No Time to Die (2021). Chapman explores how the films have changed over time in response to developments in the wider film culture and society at large. He charts the ever-evolving Bond formula, analysing the films’ representations of nationhood, class, and gender in a constantly shifting cinematic and ideological landscape.

In this new edition of Licence To Thrill, James Chapman builds upon the success of his classic work, regarded as the definitive scholarly study of the history of the James Bond film series from the first picture, Dr No (1962), to the present. He considers the origins of the films in the spy thrillers of Ian Fleming and examines the production histories of the films in the contexts of the British and international film industries.This edition includes a new introduction and chapters on Quantum of Solace (2008), Skyfall (2012), Spectre (2015) and No Time to Die (2021). Chapman explores how the films have changed over time in response to developments in the wider film culture and society at large. He charts the ever-evolving Bond formula, analysing the films’ representations of nationhood, class, and gender in a constantly shifting cinematic and ideological landscape.

The Money Behind the Screen maps the changing landscape of film finance in Britain during a transformative period for the film industry. It is the first book to document the sources of finance for film-making, the relations between film producers and financiers, and the wider fiscal and economic landscape of the British film production industry. It covers a period characterised by recurrent crises for the British film industry which also saw profound and far-reaching changes in the provision of film finance, including the establishment of state support mechanisms for British producers (the National Film Finance Corporation and the Eady levy), the shift from producer-finance to distributor-finance, and the growth of American investment in the British production sector. The book explores three interrelated aspects of the history of film finance: the institutional and economic structure of the production sector of the industry; the sources of production finance, including private and public capital and British and foreign investment; and the role of government in providing support for film production. It is an essential reference work for anyone studying the British film industry.

The Money Behind the Screen maps the changing landscape of film finance in Britain during a transformative period for the film industry. It is the first book to document the sources of finance for film-making, the relations between film producers and financiers, and the wider fiscal and economic landscape of the British film production industry. It covers a period characterised by recurrent crises for the British film industry which also saw profound and far-reaching changes in the provision of film finance, including the establishment of state support mechanisms for British producers (the National Film Finance Corporation and the Eady levy), the shift from producer-finance to distributor-finance, and the growth of American investment in the British production sector. The book explores three interrelated aspects of the history of film finance: the institutional and economic structure of the production sector of the industry; the sources of production finance, including private and public capital and British and foreign investment; and the role of government in providing support for film production. It is an essential reference work for anyone studying the British film industry.

Financing the British Film Industry provides a comprehensive history of the financing of British film production from the origin of the industry until the end of the Second World War. It documents the growth of the film business from a cottage industry to a mature business enterprise. It considers the capitalisation of the industry and analyses the relationships between producers, banks and insurance companies. It charts the fluctuating fortunes of British film-making and the various government-backed initiatives support the production sector. James Chapman argues that the difficulties of the British film industry arose not from the extravagances of individual producers or the collapse of particular companies but from underlying economic and structural weaknesses: that the industry was too reliant on short-term finance and that the domestic market was insufficient to guarantee a profitable return for anything other than a modestly-budgeted film

Did you know that in German, a pig doesn’t say oink, it says gruntz, and when you sneeze in Japanese it’s hakushon, not achoo? With vibrant comics and fun facts, Sounds All Around will teach you interesting and funny onomatopoeias from all over the world!Words that imitate sounds are known as onomatopoeia, and they are a wonderfully strange and interesting part of language. After all, we all hear the same sounds, but we interpret and write them differently in different languages. Sounds All Around is a fun and funny illustrated guide to how people say many of these sounds all around the globe. Inside you’ll learn what a cat sounds like in French, what a yawn sounds like in Norwegian, what a bell sounds like in Hindi, and much, much more!

A brightly illustrated comic guide to sayings and expressions from around the world, comparing the ways different cultures interpret the same ideas.You might say that an annoying person is called “a bad apple,” but Venezuelans would call them “a pineapple under the arm.” On a wet day, you might think “it’s raining cats and dogs,” but the rest of the world has some different ideas on what’s falling from the sky. This book looks at the unique ways different languages express common ideas like “too many cooks spoil the broth” and getting stuck “between a rock and a hard place,” as well as unique sayings about cats, beards, dancing, and much, much more. With over 330 illustrated phrases from Vietnam to Venezuela,A World of Wisdom is a fun and funny guide to all the phrases you might ever need!

Screening Sherlock is the first book-length academic study of the film and television career of the most famous detective in fiction. Chapman explores the contexts, adaptation strategies and critical reception of Sherlock Holmes (and Dr Watson) on film and television in Britain and the United States. The book includes case studies of such famous Holmes impersonators as William Gillette, Basil Rathbone, Peter Cushing, Jeremy Brett and Benedict Cumberbatch, as well as charting a path through many lesser-known productions. From early cinema to the Hollywood studio system, and from heritage drama to contemporary postmodern television, Screening Sherlock is an indispensible work for all aficionados of Arthur Conan Doyle’s consulting detective of Baker Street.

The early twenty-first century has seen the emergence of a new style of television drama in Britain that adopts the professional practices and production values of high-end American television while remaining emphatically 'British' in content and outlook. This book analyses eight of these dramas - Spooks, Foyle's War, Hustle, Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and Broadchurch - which have all proved popular with audiences and in their different ways represent the thematic and formal paradigms of post-millennial drama. James Chapman locates new British drama in its institutional and economic contexts, considers their critical and popular reception, and analyses their social politics in relation to their representations of class, gender and nationhood. He demonstrates how contemporary drama has mobilised both new and residual elements in re-configuring genres such as the spy series, cop show and costume drama for the cultural tastes of modern audiences. And it concludes that television drama has played an integral role in both the economic and the cultural export of 'Britishness'.

The early twenty-first century has seen the emergence of a new style of television drama in Britain that adopts the professional practices and production values of high-end American television while remaining emphatically 'British' in content and outlook. This book analyses eight of these dramas - Spooks, Foyle's War, Hustle, Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and Broadchurch - which have all proved popular with audiences and in their different ways represent the thematic and formal paradigms of post-millennial drama. James Chapman locates new British drama in its institutional and economic contexts, considers their critical and popular reception, and analyses their social politics in relation to their representations of class, gender and nationhood. He demonstrates how contemporary drama has mobilised both new and residual elements in re-configuring genres such as the spy series, cop show and costume drama for the cultural tastes of modern audiences. And it concludes that television drama has played an integral role in both the economic and the cultural export of 'Britishness'.

Film historian James Chapman has mined Hitchcock's own papers to investigate fully for the first time the spy thrillers of the world's most famous filmmaker. Hitchcock made his name as director of the spy movie. He returned repeatedly to the genre from the British classics of the 1930s, including The 39 Steps and The Lady Vanishes, through wartime Hollywood films Foreign Correspondent and Saboteur to the Cold War tracts North by Northwest, Torn Curtain and his unmade film The Short Night. Chapman's close reading of these films demonstrates the development of Hitchcock's own style as well as how the spy genre as a whole responded to changing political and cultural contexts from the threat of Nazism in the 1930s and 40s to the atom spies and double agents of the post-war world.