Simon Hewitt

Word-of-Mouth in Contemporary Hollywood provides a unique insight into the potential for online communication to enable audiences to exert a greater impact on film industrial practices than ever before. In an overarching analysis of contemporary Hollywood film financing, marketing, distribution, and exhibition practices, Simon Hewitt recontextualises word-of-mouth in light of social media and examines the growing impact of audience participation.Using a ‘Bourdieuconomic’ approach, he applies qualitative research methods to better understand the contemporary Hollywood film audience, the contemporary Hollywood film industry, and the mechanisms that connect the two. The book explores new film financing mechanisms that incorporate fans into the packages used to secure production funds. It assesses the role of ‘Grassroots Intermediaries’ in contemporary film marketing campaigns. It critiques ‘democratic’ crowdsourced methods of film distribution, and finally, it considers the possible future of Hollywood film exhibition.By helping to bridge the gap between the gift economy and commodity culture, this book will appeal to students and scholars of media industry studies, media finance and economics, fan and audience studies, film studies, film history, and media marketing.

Word-of-Mouth in Contemporary Hollywood provides a unique insight into the potential for online communication to enable audiences to exert a greater impact on film industrial practices than ever before. In an overarching analysis of contemporary Hollywood film financing, marketing, distribution, and exhibition practices, Simon Hewitt recontextualises word-of-mouth in light of social media and examines the growing impact of audience participation.Using a ‘Bourdieuconomic’ approach, he applies qualitative research methods to better understand the contemporary Hollywood film audience, the contemporary Hollywood film industry, and the mechanisms that connect the two. The book explores new film financing mechanisms that incorporate fans into the packages used to secure production funds. It assesses the role of ‘Grassroots Intermediaries’ in contemporary film marketing campaigns. It critiques ‘democratic’ crowdsourced methods of film distribution, and finally, it considers the possible future of Hollywood film exhibition.By helping to bridge the gap between the gift economy and commodity culture, this book will appeal to students and scholars of media industry studies, media finance and economics, fan and audience studies, film studies, film history, and media marketing.

Karl Marx's criticism of religion, as applied to afterlife belief, needs to be taken seriously by Christian theologians. After outlining that belief, the author examines a picture of heaven implicit in much Christian belief and practice which is susceptible to that critique. he sets out an alternative eschatology, centred on the Kingdom of God and the resurrection of the body, which is somewhat less susceptible. He then explores whether a doctrine of the intermediate state can be sustained in the light of Marx's criticisms. He goes on to examine the politics of remembrance in the light of Marxist criticism, and to ask whether Christianity can help compensate for the tragic character of Marxism. A constant theme is that Christian theology should exist in tension with Marx's criticisms, never assuming that it has overcome them completely.

Karl Marx's criticism of religion, as applied to afterlife belief, needs to be taken seriously by Christian theologians. After outlining that belief, the author examines a picture of heaven implicit in much Christian belief and practice which is susceptible to that critique. he sets out an alternative eschatology, centred on the Kingdom of God and the resurrection of the body, which is somewhat less susceptible. He then explores whether a doctrine of the intermediate state can be sustained in the light of Marx's criticisms. He goes on to examine the politics of remembrance in the light of Marxist criticism, and to ask whether Christianity can help compensate for the tragic character of Marxism. A constant theme is that Christian theology should exist in tension with Marx's criticisms, never assuming that it has overcome them completely.

This book is the first treatment at length of negative, or apophatic, theology within the analytic tradition. Apophatic theology holds that there is a significant sense in which we cannot say what God is. Important negative theological elements are present in a host of Christian thinkers, from Gregory of Nyssa to Aquinas, and yet apophaticism is neglected in philosophical theology as practiced within the analytic tradition. By contrast, Hewitt shows how apophatic theology is integral to how Christians have thought about God, and how it can be defended against standard attacks in the philosophical literature. Hewitt diagnoses the unease with apophaticism amongst contempory philosophical theologicans as rooted in a certain picture of how language functions, here called referentialism. Arguing that this picture is not compulsory, an account of language which sits more comfortably with negative theology (originating from work of later Wittgenstein) is invoked, and appliedto key themes in philosophical theology including divine personhood, the Trinity, the Incarnation and the afterlife.

This book is the first treatment at length of negative, or apophatic, theology within the analytic tradition. Apophatic theology holds that there is a significant sense in which we cannot say what God is. Important negative theological elements are present in a host of Christian thinkers, from Gregory of Nyssa to Aquinas, and yet apophaticism is neglected in philosophical theology as practiced within the analytic tradition. By contrast, Hewitt shows how apophatic theology is integral to how Christians have thought about God, and how it can be defended against standard attacks in the philosophical literature. Hewitt diagnoses the unease with apophaticism amongst contempory philosophical theologicans as rooted in a certain picture of how language functions, here called referentialism. Arguing that this picture is not compulsory, an account of language which sits more comfortably with negative theology (originating from work of later Wittgenstein) is invoked, and appliedto key themes in philosophical theology including divine personhood, the Trinity, the Incarnation and the afterlife.

This in-depth investigation into the art, politics and murderous cynicism of Renaissance Milan is is an academic detective story sketched out with erudition and journalistic panache. Debunking the outrageous claim by the notorious Lancashire forger Shaun Greenhalgh that he produced the mesmerizing portrait of a young girl that zoomed into the art world limelight in 2009, Hewitt proves that Leonardo was on intimate terms with both the sitter – Bianca Sforza, teenage daughter of the Duke of Milan – and her husband, Galeazzo Sanseverino, the Duke’s Army Captain, effective Number Two and, as Hewitt convincingly demonstrates, the subject of Leonardo’s enigmatic portrait The Musician. Hewitt brings the tragic Bianca to life, suggests why and by whom she was likely murdered,and explains why her Leonardo portrait was included in one of the most lavish books ever produced – whose co-illustrator, Giovan Pietro Birago, was paid even more than Leonardo. Finally, in one of the most significant artistic discoveries of recent times, Hewitt shows how Birago’s artistic colleagues had no hesitation in lampooning the venerable Leonardo as a Ginger-Haired Gay.‘A remarkable book and a work of impressive scholarship yet eminently readable, helped along by the author’s characteristic light touch, the snapshots of the major players and the quality of the illustrations. As a detective story it takes some beating. Chronicling Simon’s discoveries, the fascinating people he met on his journey, and the exotic locations he ended up in, his role in piecing it all together is a story in itself’ – JOHN FALDING formerly Arts Reporter, Financial Times ‘A magnificent journey through time. An amazing book from first page to last’ – FRANÇOISE JOULIE Curator of Drawings, Musée du Louvre, Paris