A. Bowdoin Van Riper – författare

A. Bowdoin Van Riper provides an account of how Victorian scientists raised and resolved the question of human antiquity. During the early part of the 19th century, scientists divided the history of the earth into a series of "former worlds," populated by mammoths and other prehistoric animals, and a "modern world," in which humans lived. According to this view, the human race was no older than 6000 years. The discovery of tools with mammoth bones, however, prompted a group of British geologists to argue in 1859 that the origin of humankind dated back to prehistoric times. The idea of prehistoric human origins threatened long-cherished religious beliefs and set off an intense debate among scientists as well as members of the clergy and the educated public. Van Riper chronicles this debate within the context of Victorian science, showing how the notion of human antiquity forced Victorians to redefine their assumptions about human evolution and the relationship of science to Christianity.The new study of human prehistory also crossed the boundaries of scientific disciplines, and the once-distinct fields of geology, archaeology and anthropology were drawn together to study early human life. Van Riper shows how, from the beginning, the study of human prehistory was an interdisciplinary endeavour.

The book begins with an overview of how and why the present self-regulatory arrangement for setting standards for financial reporting in the private sector came about in 1973. A brief description of the new structure is followed by a discussion of the essential elements of meaningful self-regulation. A schism emerged between advocates of neutrality and objectivity in standard setting and those who think the primary concern should be for possible economic and social consequences. Early clashes between traditional views and newer insights are described, setting the stage for an account of serious resistance to change. Powerful interests mount determined efforts to thwart the standard setters, undercutting not only self-regulation, but also the intent of the federal securities acts of 1933 and 1934. The practical and philosophical bases for the opposing views are examined, and recommendations are presented for ensuring continuation of private-sector standard setting despite the intensity of these views.

Spaceships travel through time at lightspeed, piloted by human clones and talking animals. Serious injuries are healed with the wave of a medical gizmo. The media makes it all look easy. Can scientists hope to accomplish such amazing feats in the real world, or are they merely flights of fancy? This book is a fun look at what can, and can't, be achieved with current technology in today's laboratory experiments.Fans of the Jetsons, Star Trek, and Star Wars will learn the facts behind the fiction through entires that describe the scientific inventions and procedures on the screen, and how they differ from the reality. Van Riper shows us who innovators like Charles Darwin, Benjamin Franklin, and Isaac Newton really were before they were mythologized. He discusses how animals such as chimpanzees, dolphins, and elephants are portrayed in books and films, and what we really know about animal intelligence. This book lifts the curtain on science fiction, revealing how and where scientific laws have been discarded for the sake of a good plot.

Beginning with World War II, missiles transformed the art of war. For the first time, cities of warring nations were vulnerable to sudden, unannounced, long-distance destruction. At the same time, rockets made possible one of the great triumphs of the modern age—the exploration of space. Rockets and Missiles traces the history of the technology that led to both the great fear of global warfare, and the great excitement of the Space Age. Beginning with the origins of rocketry in medieval and early modern Asia, the volume focuses on rocketry in late-20th-century Western Europe, Russia, and the United States, and also covers the spread of rocket technology in East Asia, the Middle East, and elsewhere.Rockets and Missiles covers everything any student or interested layperson would need to understand the history of rocketry. The introduction reviews basic principles of physics and basic elements of chemical rocket technology. Chapters trace the history of rockets from their origins to the present day, with a particular emphasis on the years since World War II. All three principal uses of rocket technology are covered in detail: missiles as long-range strategic weapons and short-range tactical weapons, and rockets as launch vehicles for sending payloads into space The book concludes with a survey of several types of non-chemical rockets now under development for use in outer space. While Rockets and Missiles covers the development of the technology, including how rockets improved in performance, reliability, and versatility. The book also stresses the impact of rocket technology—both military and civilian—on everyday life.

Throughout its long and colorful history, Walt Disney Studios has produced scores of films designed to educate moviegoers as well as entertain them. These productions range from the True-Life Adventures nature documentaries and such depictions of cutting-edge technology as Man in Space and Our Friend the Atom, to wartime propaganda shorts (Education for Death), public-health films (VD Attack Plan) and coverage of exotic cultures (The Ama Girls, Blue Men of Morocco). Even Disney's dramatic recreations of historical events (Ten Who Dared, Invincible) have had their share of educational value. Each of the essays in this volume focuses on a different type of Disney "edutainment" film. Together they provide the first comprehensive look at Walt Disney's ongoing mission to inform and enlighten his worldwide audience.

Beginning with World War II, missiles transformed the art of war. For the first time, cities of warring nations were vulnerable to sudden, unannounced, long-distance attacks. At the same time, rockets made possible one of the great triumphs of the modern age-the exploration of space. Beginning with the origins of rocketry in medieval and early modern Asia, Rockets and Missiles traces the history of the technology that led to both the great fear of global warfare and the great excitement of the Space Age. This volume focuses on rocketry in late-twentieth-century Western Europe, Russia, and the United States, as well as the spread of rocket technology to East Asia and the Middle East. It covers the full history of rocket technology-including how rockets improved in performance, reliability, and versatility and how they affected everyday life.

Films that dramatize historical events and the lives of historical figures-whether they are intended to educate or to entertain-play a significant role in shaping the public''s understanding of the past. In A Biographical Encyclopedia of Scientists and Inventors in American Film and TV since 1930, A. Bowdoin Van Riper focuses on the dramatized portrayals of a particular group of historical figures-scientists, engineers, and inventors-that have appeared on American film and television screens. This volume analyzes individual portrayals, the public images of particular scientists and inventors, and the ideas about science and technology that, collectively, they represent.In this first in-depth study of how historic scientists and inventors have been portrayed on screen, Van Riper catalogs nearly 300 separate performances and includes essays on the screen images of more than 80 historic scientists, inventors, engineers, and medical researchers. The individuals covered include Isaac Newton, Benjamin Franklin, Thomas Edison, Albert Einstein, Marie Curie, Dian Fossey, and Bill Gates.Arranged chronologically by the subject''s date of birth, entries for each individual explain their major contributions to science and technology, analyze the ways in which they''ve been portrayed in film and on television, and conclude with a complete list of screen portrayals and a discussion of suggestions for further reading. A Biographical Encyclopedia of Scientists and Inventors in American Film and TV since 1930 will be of interest to anyone concerned with the depiction of historical events and historical figures in film and television, and to anyone interested in the public understanding of science and technology.

In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre’s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: “Reanimating Classic Western Tropes” examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; “The Moral Order Under Siege” explores the ways in which the undead confront classic values and morality tales embodied in Western films; and “And Hell Followed with Him” looks at justice, retribution, and retaliation at the hands of undead angels and avenger.The subjects explored here run the gamut from such B films as Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk ‘til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi’s Bubba Ho-Tep, John Carpenter’s Vampires, George Romero’s Land of the Dead, andSergio Leone’s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema.

In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre’s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: “Reanimating Classic Western Tropes” examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; “The Moral Order Under Siege” explores the ways in which the undead confront classic values and morality tales embodied in Western films; and “And Hell Followed with Him” looks at justice, retribution, and retaliation at the hands of undead angels and avenger.The subjects explored here run the gamut from such B films as Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk ‘til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi’s Bubba Ho-Tep, John Carpenter’s Vampires, George Romero’s Land of the Dead, andSergio Leone’s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema.

The undead are back! In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper assembled a collection of essays that explored the unique intersection of two seemingly distinct genres in cinema: the western and the horror film. In this new volume, Undead in the West II: They Just Keep Coming, Miller and Van Riper expand their examination of undead Westerns to include not only film, but literature, sequential art, gaming, and fan culture (fan fiction, blogging, fan editing, and zombie walks). These essays run the gamut from comics and graphic novels such as American Vampire, Preacher, and Priest, and games like Darkwatch and Red Dead Redemption, to novels and short stories by celebrated writers including Robert E. Howard, Joe R. Lansdale, and Stephen King. Featuring a foreword by renowned science fiction author William F. Nolan (Logan’s Run) and an afterword by acclaimed game designer Paul O’Connor (Darkwatch), this collection will appeal to scholars of literature, gaming, and popular culture, as well as to fans of this unique hybrid.

The undead are back! In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper assembled a collection of essays that explored the unique intersection of two seemingly distinct genres in cinema: the western and the horror film. In this new volume, Undead in the West II: They Just Keep Coming, Miller and Van Riper expand their examination of undead Westerns to include not only film, but literature, sequential art, gaming, and fan culture (fan fiction, blogging, fan editing, and zombie walks). These essays run the gamut from comics and graphic novels such as American Vampire, Preacher, and Priest, and games like Darkwatch and Red Dead Redemption, to novels and short stories by celebrated writers including Robert E. Howard, Joe R. Lansdale, and Stephen King. Featuring a foreword by renowned science fiction author William F. Nolan (Logan’s Run) and an afterword by acclaimed game designer Paul O’Connor (Darkwatch), this collection will appeal to scholars of literature, gaming, and popular culture, as well as to fans of this unique hybrid.

The Western tradition, with its well-worn tropes, readily identifiable characters, iconic landscapes, and evocative soundtracks, is not limited to the United States. Western, or Western-inspired films have played a part in the output of numerous national film traditions, including Asia, Central and Eastern Europe, and Latin America.In International Westerns: Re-Locating the Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the significance and meanings of these films, their roots in other media, and their reception in the national industries which gave them form. Among the questions that the volume seeks to answer are: What do Westerns not made in the U.S. reveal? In what ways do they challenge or support the idea of national literatures and cinemas? How do these films negotiate nation, narrative, and genre? Divided into five sections, the twenty essays in this volume look at films from a wide range of national cinemas, such as France (The Adventures of Lucky Luke), Germany (Der Schuh des Maitu), Brazil (O Cangaceiro), Eastern Europe (Lemonade Joe), and of course, Asia (Sukiyaki Western Django).Featuring contributions from a diverse group of international scholars—often writing about Westerns adapted to their own national traditions—these essays address such matters as competing national film traditions, various forms of satire and comedy based on the Western tradition, the range of cultural adaptations of the traditional Western hero, the ties between the nation-state and the outlaw, and Westerns in a variety of unanticipated guises. Representing a broader look at global Westerns than any other single volume to date—and featuring more than 70 illustrations—International Westerns will be of interest to scholars of film, popular culture, and cultural history.

The Western tradition, with its well-worn tropes, readily identifiable characters, iconic landscapes, and evocative soundtracks, is not limited to the United States. Western, or Western-inspired films have played a part in the output of numerous national film traditions, including Asia, Central and Eastern Europe, and Latin America.In International Westerns: Re-Locating the Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the significance and meanings of these films, their roots in other media, and their reception in the national industries which gave them form. Among the questions that the volume seeks to answer are: What do Westerns not made in the U.S. reveal? In what ways do they challenge or support the idea of national literatures and cinemas? How do these films negotiate nation, narrative, and genre? Divided into five sections, the twenty essays in this volume look at films from a wide range of national cinemas, such as France (The Adventures of Lucky Luke), Germany (Der Schuh des Maitu), Brazil (O Cangaceiro), Eastern Europe (Lemonade Joe), and of course, Asia (Sukiyaki Western Django).Featuring contributions from a diverse group of international scholars—often writing about Westerns adapted to their own national traditions—these essays address such matters as competing national film traditions, various forms of satire and comedy based on the Western tradition, the range of cultural adaptations of the traditional Western hero, the ties between the nation-state and the outlaw, and Westerns in a variety of unanticipated guises. Representing a broader look at global Westerns than any other single volume to date—and featuring more than 70 illustrations—International Westerns will be of interest to scholars of film, popular culture, and cultural history.

Battlefields have traditionally been considered places where the spirits of the dead linger, and popular culture brings those thoughts to life. Supernatural tales of war told in print, on screen, and in other media depict angels, demons, and legions of the undead fighting against—or alongside—human soldiers. Ghostly war ships and phantom aircraft carry on their never-to-be-completed missions, and the spirits—sometimes corpses—of dead soldiers return to confront the enemies who killed them, comrades who betrayed them, or leaders who sacrificed them.In Horrors of War: The Undead on the Battlefield, Cynthia J. Miller and A. Bowdoin Van Riper have assembled essays that explore the meaning and significance of these tales. Among the questions that the volume seeks to answer are: How do supernatural stories engage with cultural attitudes toward war? In what ways do these stories reflect or challenge the popular memories of particular wars? How do they ask us to think again about battlefield heroism, military ethics, and the politics of sacrifice? Divided into four sections, chapters examine undead war stories in film (Carol for Another Christmas, The Devil’s Backbone), television (The Twilight Zone), literature (The Bloody Red Baron, Devils of D-Day), comics (Weird War Tales, The Haunted Tank), graphic novels (The War of the Trenches), and gaming (Call of Duty: World at War). Featuring contributions from a diverse group of international scholars, these essays address such themes as monstrous enemies and enemies made monstrous, legacies and memories of war, and the war dead who refuse to rest. Drawing together stories from across wars, branches of service, and generations of soldiers—and featuring more than fifty illustrations—Horrors of War will be of interest to scholars of film, popular culture, military history, and cultural history.

Hybrid films that straddle more than one genre are not unusual. But when seemingly incongruous genres are mashed together, such as horror and comedy, filmmakers often have to tread carefully to produce a cohesive, satisfying work. Though they date as far back as James Whale’s Bride of Frankenstein (1935), horror-comedies have only recently become popular attractions for movie goers.In The Laughing Dead: The Horror-Comedy Film from Bride of Frankenstein to Zombieland, editors Cynthia J. Miller and A. Bowdoin Van Riper have compiled essays on the comic undead that look at the subgenre from a variety of perspectives. Spanning virtually the entire sound era, this collection considers everything from classics like The Canterville Ghost to modern cult favorites like Shaun of the Dead. Other films discussed include Abbott and Costello Meet Frankenstein, Beetlejuice, Ghostbusters, House on Haunted Hill, ParaNorman, Scream, Vampire’s Kiss, and Zombieland.Contributors in this volume consider a wide array of comedic monster films—from heartwarming (The Book of Life) to pitch dark (The Fearless Vampire Killers) and even grotesque (Frankenhooker). The Laughing Dead will be of interest to scholars and fans of both horror and comedy films, as well as those interested in film history and, of course, the proliferation of the undead in popular culture.

Popular media has become a common means by which students understand both the present and the past. Consequently, more teachers are using various forms of popular culture as pedagogical tools in the history classroom. Science fiction is one of the most popular genres of contemporary film, a genre that permeates much of the current culture. In order to facilitate the use of science fiction films as learning tools, teachers of history need a dependable resource.Teaching History with Science Fiction Films is a guide for teaching U.S. and world history. In addition to covering key themes and concepts, the volume provides• an era-by-era overview of significant issues and related films,• a tutorial in using film in historical methodology,• user guides for 10 key science fiction films, and• sample exercises and assignments for direct classroom use.Among the films covered in this book are staples of American cultural literacy, including Things to Come, The Day the Earth Stood Still, Soylent Green, and Independence Day.Covering conceptual topics such as geopolitics, environmental consciousness, imperialism, immigration, gender roles, and technological innovation across the decades, Teaching History with Science Fiction Films will enable classroom teachers to effectively use movies to examine key social and cultural issues, concepts, and influences in their historical context. With a list of more than 90 recommended films, this volume will be an invaluable asset to any teacher of history.

From Rosemary's Baby (1968) to The Witch (2015), horror films use religious entities to both inspire and combat fear and to call into question or affirm the moral order. Churches provide sanctuary, clergy cast out evil, religious icons become weapons, holy ground becomes battleground--but all of these may be turned from their original purpose.This collection of new essays explores fifty years of genre horror in which manifestations of the sacred or profane play a material role. The contributors explore portrayals of the war between good and evil and their archetypes in such classics as The Omen (1976), The Exorcist (1973) and Dracula Has Risen from the Grave (1968), as well as in popular franchises like Hellraiser and Hellboy and cult films such as God Told Me To (1976), Thirst (2009) and Frailty (2001).

From Faust (1926) to The Babadook (2014), books have been featured in horror films as warnings, gateways, prisons and manifestations of the monstrous. Ancient grimoires such as the Necronomicon serve as timeless vessels of knowledge beyond human comprehension, while runes, summoning diaries, and spell books offer their readers access to the powers of the supernatural--but at what cost?
 This collection of new essays examines nearly a century of genre horror in which on-screen texts drive and shape their narratives, sometimes unnoticed. The contributors explore American films like The Evil Dead (1981), The Prophecy (1995) and It Follows (2014), as well as such international films as Eric Valette's Malefique (2002), Paco Cabeza's The Appeared (2007) and Lucio Fulci's The Beyond (1981).

As baby boomers gray, cinematic depictions of aging and the aged are on the rise. In the horror genre, fears of growing old take on fantastic proportions. Elderly characters are portrayed as either eccentric harbingers of doom--the crone who stops at nothing to restore her youth, the ancient ancestor who haunts the living--or as frail victims.This collection of new essays explores how various filmic portrayals of aging, as an inescapable horror destined to overtake us all, reflect our complex attitudes toward growing old, along with its social, psychological and economic consequences.

Home, we are taught from childhood, is safe. Home is a refuge that keeps the monsters out--until it isn't.This collection of new essays focuses on genre horror movies in which the home is central to the narrative, whether as refuge, prison, menace or supernatural battleground. The contributors explore the shifting role of the home as both a source and a mitigator of the terrors of this world, and the next.Well known films are covered--including Psycho, Get Out, Insidious: The Last Key and Winchester House--along with films produced outside the U.S. by directors such as Alejandro Amenabar (The Others), Hideo Nakata (Ringu) and Guillermo Del Toro (The Orphanage), and often overlooked classics like Alfred Hitchcock's The Lodger.

Since ancient times, explorers and adventurers have captured popular imagination with their frightening narratives of travels gone wrong. Usually, these stories heavily feature the exotic or unknown, and can transform any journey into a nightmare. Stories of such horrific happenings have a long and rich history that stretches from folktales to contemporary media narratives.This work presents eighteen essays that explore the ways in which these texts reflect and shape our fear and fascination surrounding travel, posing new questions about the "geographies of evil" and how our notions of "terrible places" and their inhabitants change over time. The volume's five thematic sections offer new insights into how power, privilege, uncanny landscapes, misbegotten quests, hellish commutes and deadly vacations can turn our travels into terror.

Dark Forces at Work examines the role of race, class, gender, religion, and the economy as they are portrayed in, and help construct, horror narratives across a range of films and eras. These larger social forces not only create the context for our cinematic horrors, but serve as connective tissue between fantasy and lived reality, as well.While several of the essays focus on “name” horror films such as IT, Get Out, Hellraiser, and Don’t Breathe, the collection also features essays focused on horror films produced in Asia, Europe, and Latin America, and on American classic thrillers such as Alfred Hitchcock’s Psycho. Key social issues addressed include the war on terror, poverty, the housing crisis, and the Time’s Up movement. The volume grounds its analysis in the films, rather than theory, in order to explore the ways in which institutions, identities, and ideologies work within the horror genre.

Divided into four thematic sections, What's Eating You? explores the deeper significance of food on screen—the ways in which they reflect (or challenge) our deepest fears about consuming and being consumed. Among the questions it asks are: How do these films mock our taboos and unsettle our notions about the human condition? How do they critique our increasing focus on consumption? In what ways do they hold a mirror to our taken-for-granteds about food and humanity, asking if what we eat truly matters?Horror narratives routinely grasp those questions and spin them into nightmares. Monstrous “others” dine on forbidden fare; the tables of consumption are turned, and the consumer becomes the consumed. Overindulgence, as Le Grande Bouffe (1973) and Street Trash (1987) warn, can kill us, and occasionally, as films like The Stuff (1985) and Poultrygeist (2006) illustrate, our food fights back. From Blood Feast (1963) to Sweeney Todd (2007), motion pictures have reminded us that it is an “eat or be eaten” world.

Divided into four thematic sections, What's Eating You? explores the deeper significance of food on screen-the ways in which they reflect (or challenge) our deepest fears about consuming and being consumed. Among the questions it asks are: How do these films mock our taboos and unsettle our notions about the human condition? How do they critique our increasing focus on consumption? In what ways do they hold a mirror to our taken-for-granteds about food and humanity, asking if what we eat truly matters?Horror narratives routinely grasp those questions and spin them into nightmares. Monstrous “others” dine on forbidden fare; the tables of consumption are turned, and the consumer becomes the consumed. Overindulgence, as Le Grande Bouffe (1973) and Street Trash (1987) warn, can kill us, and occasionally, as films like The Stuff (1985) and Poultrygeist (2006) illustrate, our food fights back. From Blood Feast (1963) to Sweeney Todd (2007), motion pictures have reminded us that it is an “eat or be eaten” world.

Divided into four thematic sections, What's Eating You? explores the deeper significance of food on screen-the ways in which they reflect (or challenge) our deepest fears about consuming and being consumed. Among the questions it asks are: How do these films mock our taboos and unsettle our notions about the human condition? How do they critique our increasing focus on consumption? In what ways do they hold a mirror to our taken-for-granteds about food and humanity, asking if what we eat truly matters?Horror narratives routinely grasp those questions and spin them into nightmares. Monstrous “others” dine on forbidden fare; the tables of consumption are turned, and the consumer becomes the consumed. Overindulgence, as Le Grande Bouffe (1973) and Street Trash (1987) warn, can kill us, and occasionally, as films like The Stuff (1985) and Poultrygeist (2006) illustrate, our food fights back. From Blood Feast (1963) to Sweeney Todd (2007), motion pictures have reminded us that it is an “eat or be eaten” world.

Divided into four thematic sections, What's Eating You? explores the deeper significance of food on screen—the ways in which they reflect (or challenge) our deepest fears about consuming and being consumed. Among the questions it asks are: How do these films mock our taboos and unsettle our notions about the human condition? How do they critique our increasing focus on consumption? In what ways do they hold a mirror to our taken-for-granteds about food and humanity, asking if what we eat truly matters?Horror narratives routinely grasp those questions and spin them into nightmares. Monstrous “others” dine on forbidden fare; the tables of consumption are turned, and the consumer becomes the consumed. Overindulgence, as Le Grande Bouffe (1973) and Street Trash (1987) warn, can kill us, and occasionally, as films like The Stuff (1985) and Poultrygeist (2006) illustrate, our food fights back. From Blood Feast (1963) to Sweeney Todd (2007), motion pictures have reminded us that it is an “eat or be eaten” world.