Robert Lang

With an expected population of 400 million by 2040, America is morphing into an economic system composed of twenty-three 'megapolitan' areas that will dominate the nation’s economy by midcentury. These 'megapolitan' areas are networks of metropolitan areas sharing common economic, landscape, social, and cultural characteristics.

Tunisian cinema is often described as the most daring of all Arab cinemas. For many, Tunisia appeared to be a model of equipoise between "East" and "West," and yet, during Zine El Abidine Ben Ali's presidency, from 1987 to 2011, the country became the most repressive state in the Maghreb. Against considerable odds, a generation of filmmakers emerged in the mid-1980s to make films that are allegories of resistance to the increasingly illiberal trends that were marking their society. In New Tunisian Cinema, Robert Lang focuses on eight films by some of the nation's best-known directors, including Man of Ashes (1986), Bezness (1992) and Making Of (2006) by Nouri Bouzid, Halfaouine (1990) by Ferid Boughedir, The Silences of the Palace (1994) by Moufida Tlatli, Essaida (1997) by Mohamed Zran, Bedwin Hacker (2002) by Nadia El Fani, and The TV Is Coming (2006) by Moncef Dhouib. He explores the political economy and social, historical, and psychoanalytic dimensions of these works and the strategies filmmakers deployed to preserve cinema's ability to shape debates about national identity. These debates, Lang argues, not only helped initiate the 2011 uprising that ousted Ben Ali's regime but also did much to inform and articulate the aspirations of the Tunisian people in the new millennium.

Tunisian cinema is often described as the most daring of all Arab cinemas. For many, Tunisia appeared to be a model of equipoise between "East" and "West," and yet, during Zine El Abidine Ben Ali's presidency, from 1987 to 2011, the country became the most repressive state in the Maghreb. Against considerable odds, a generation of filmmakers emerged in the mid-1980s to make films that are allegories of resistance to the increasingly illiberal trends that were marking their society. In New Tunisian Cinema, Robert Lang focuses on eight films by some of the nation's best-known directors, including Man of Ashes (1986), Bezness (1992) and Making Of (2006) by Nouri Bouzid, Halfaouine (1990) by Ferid Boughedir, The Silences of the Palace (1994) by Moufida Tlatli, Essaida (1997) by Mohamed Zran, Bedwin Hacker (2002) by Nadia El Fani, and The TV Is Coming (2006) by Moncef Dhouib. He explores the political economy and social, historical, and psychoanalytic dimensions of these works and the strategies filmmakers deployed to preserve cinema's ability to shape debates about national identity. These debates, Lang argues, not only helped initiate the 2011 uprising that ousted Ben Ali's regime but also did much to inform and articulate the aspirations of the Tunisian people in the new millennium.

With an expected population of 400 million by 2040, America is morphing into an economic system composed of twenty-three 'megapolitan' areas that will dominate the nation’s economy by midcentury. These 'megapolitan' areas are networks of metropolitan areas sharing common economic, landscape, social, and cultural characteristics. The rise of 'megapolitan' areas will change how America plans. For instance, in an area comparable in size to France and the low countries of the Netherlands and Belgium – considered among the world's most densely settled – America's 'megapolitan' areas are already home to more than two and a half times as many people. Indeed, with only eighteen percent of the contiguous forty-eight states’ land base, America's megapolitan areas are more densely settled than Europe as a whole or the United Kingdom. Megapolitan America goes into spectacular demographic, economic, and social detail in mapping the dramatic – and surprisingly optimistic – shifts ahead. It will be required reading for those interested in America’s future.

Until Masculine Interests not much had been written about men "as men" in the cinema. Now Robert Lang considers how Hollywood articulates the eroticism that is intrinsic to identification between men. He considers masculinity in social and psychoanalytic terms, maintaining that a major function of the movies is to define different types of masculinity, and to either valorize or criticize these forms. Focusing on several films-primarily The Lion King, The Most Dangerous Game, The Outlaw, Kiss Me Deadly, Midnight Cowboy, Innerspace, My Own Private Idaho, the Batman series, and Jerry Maguire-Lang questions the way in which American culture distinguishes between homosexual and nonhomosexual forms of male bonding. In arguing for a much more complex recognition of the homosocial continuum, he contends that queer sexuality is far more present in American cinema than is usually acknowledged.

Until Masculine Interests not much had been written about men "as men" in the cinema. Now Robert Lang considers how Hollywood articulates the eroticism that is intrinsic to identification between men. He considers masculinity in social and psychoanalytic terms, maintaining that a major function of the movies is to define different types of masculinity, and to either valorize or criticize these forms. Focusing on several films-primarily The Lion King, The Most Dangerous Game, The Outlaw, Kiss Me Deadly, Midnight Cowboy, Innerspace, My Own Private Idaho, the Batman series, and Jerry Maguire-Lang questions the way in which American culture distinguishes between homosexual and nonhomosexual forms of male bonding. In arguing for a much more complex recognition of the homosocial continuum, he contends that queer sexuality is far more present in American cinema than is usually acknowledged.

Eine Gruppe von Opernkomponisten, die Lehrer oder Schuler an einem der vier Konservatorien Neapels waren, ist seit dem 18. Jahrhundert als "neapolitanische Schule" bekannt. Die Reichweite dieser kunstlerisch-padagogischen Tradition ist umstritten, doch entbehrte die Debatte, die in jungerer Zeit zur Verbannung dieses Begriffs aus der Opernforschung gefuhrt hat, bislang jeder musikalisch-analytischen Fundierung. Gegenstand der vorliegenden Arbeit ist die Frage, ob in den Bereichen der stadtischen commedia per musica und der metastasianischen opera seria eine neapolitanische Lokaltradition existierte. Vergleichende Analysen eines bisher weitgehend unedierten Notenmaterials sowie Methoden aus benachbarten Disziplinen wie Ethnologie und Dialektologie ermoeglichen es, der Diskussion uber das Vorhandensein eines spezifisch neapolitanischen Opernstils im Settecento eine sichere Basis zu geben.

The Birth of a Nation (1915) remains the most controversial American film ever made, and its director, D. W. Griffith, one of the most extraordinary figures in film history. It was the first true feature film and did more than any other to launch Hollywood both as an industry and as an idea. The film consolidated a trend in cinematic technique and an approach to dramatic narrative that define American cinema to this day. As a great but ideologically troubled film that offers us a reflection of ourselves as Americans, The Birth of a Nation continues to intrigue, challenge, infuriate, and awe. Robert Lang's introduction to this volume explores in fascinating detail the warped view of history that this great film presents. Griffith, a Southerner, was intent on resurrecting, idealizing, and justifying the South. In The Birth of a Nation, it is racism that unites the white North and South; the protection or abolition of slavery is not the divisive issue. In a powerful synthesis of spectacle and narrative, Griffith seeks to give the Southern cause a sense of glamour and high purpose. Lang considers the film as a historical melodrama, and by examining Griffith's "historiography as ideological practice," he traces the way in which the bloody, traumatic reality of the Civil War and Reconstruction becomes melodramatic myth. This unparalleled guide to The Birth of a Nation offers a shot-by-shot continuity script; a biographical sketch of the director; a sampling of contemporary reviews; a series of essays by distinguished critics including James Chandler, Michael Rogin, Janet Staiger, and Mimi White; and a filmography and bibliography.