Alexander Fisher – författare

This journal, published in 1819 and generally attributed to Alexander Fisher, assistant surgeon of the Alexander, describes Sir John Ross' abortive expedition to search for the North-West Passage. Ross' own report of the voyage (also reissued in this series) was highly controversial, and William Edward Parry (1790-1855), who had commanded the Alexander, was sent by the Admiralty early in 1819 to continue the mission instead of his former superior. Fisher's account, which he insists is 'strictly true', begins with details of the generous provisions and special cold-weather equipment on the ships (including a form of central heating, and wolf-skin blankets issued gratis to all personnel). He vividly describes Baffin Bay, icebergs, and 'dismal' black cliffs, identified by regular compass bearings. Later, the author expresses surprise at Ross' ship turning around and leaving Lancaster Sound, although no land was visible ahead; this incriminating detail may explain Fisher's preference for anonymity.

Alexander Fisher (d.1838), ship's surgeon on the Arctic exploration ship H.M.S. Hecla, was the probable author of the anonymous 1819 Journal of a Voyage of Discovery to the Arctic Regions, also reissued in this series. The voyage of the Hecla and Griper began in 1819, and Fisher's account was published in 1821, going rapidly into further editions (of which this reissue is the third). The intention of the expedition, under William Edward Parry, was to find the North-West Passage. It was unsuccessful in this respect (an account by Captain G. F. Lyon of Parry's expedition of 1821-3 is also available in this series), but Fisher's detailed and lively account claims that the existence of the passage has been so far proved that it cannot be doubted. He describes the people and wildlife seen during the voyage, as well as providing technical details of latitude, weather and currents.

World Cinema on Demand brings together diverse contributions by leading film and media scholars to examine world cinema’s dialogue with the transformations that took place during 2010-2014, engaging directly with ongoing debates surrounding national cinema, transnational identity, and cultural globalization, as well as ideas about genre, fandom and cinephilia. The contributions look at individual national patterns of online distribution, engaging with archives, SVODS and torrent communities. The essays also investigate the cross-cultural presence of world cinema in non-domestic online markets (such as Europe’s, for example). As a result, the volume sheds light on geo-politically specific issues of film circulation, consumption and preservation within a range of culturally diverse filmmaking contexts, including case studies from India, Nigeria, Mexico and China. In this way, the collection maps the impact of different online formats of distribution in the understanding of World Cinema, underlining the links between distribution and media provisions as well as engaging with new forms of intermediation.

World Cinema on Demand brings together diverse contributions by leading film and media scholars to examine world cinema’s dialogue with the transformations that took place during 2010-2014, engaging directly with ongoing debates surrounding national cinema, transnational identity, and cultural globalization, as well as ideas about genre, fandom and cinephilia. The contributions look at individual national patterns of online distribution, engaging with archives, SVODS and torrent communities. The essays also investigate the cross-cultural presence of world cinema in non-domestic online markets (such as Europe’s, for example). As a result, the volume sheds light on geo-politically specific issues of film circulation, consumption and preservation within a range of culturally diverse filmmaking contexts, including case studies from India, Nigeria, Mexico and China. In this way, the collection maps the impact of different online formats of distribution in the understanding of World Cinema, underlining the links between distribution and media provisions as well as engaging with new forms of intermediation.