Hannah Lewis – författare

‘There may be no single climate solution that has a greater breadth of benefits than mini-forests…[and] can be done by everyone everywhere.’ Paul Hawken, from the forewordAre you ready to join the movement to restore biodiversity in our cities and towns by transforming degraded and underused urban land into forests that can help heal the planet?In Mini-Forest Revolution, Hannah Lewis presents the Miyawaki Method, a unique approach to reforestation devised by Japanese botanist Akira Miyawaki. Lewis explains how tiny forests, as small as six parking spaces, can grow quickly and offer rich biodiversity and environmental benefits – much more so than forests planted by conventional methods.Today, the Miyawaki Method is witnessing a worldwide surge in popularity. Lewis shares stories of mini-forests that have sprung up across the globe and the people who are planting them – from a ‘Forest of Thanks’ in East London, to a mini-forest along the concrete alley of the Beirut River in Lebanon, to a backyard project planted by tiny-forest champion Shubhendu Sharma in India.Mini-Forest Revolution offers a revolutionary approach to planting trees and a truly accessible solution to the climate crisis that can be implemented by communities, classrooms, cities, companies, clubs, and families everywhere.

The transition from silent to synchronized sound film was one of the most dramatic transformations in cinema's history, as it radically changed the technology, practices, and aesthetics of filmmaking within a few short years. In France, debates about sound cinema were fierce and widespread. In French Musical Culture and the Coming of Sound Cinema, author Hannah Lewis argues that the debates about sound film resonated deeply within French musical culture of the early 1930s, and conversely, that discourses surrounding a range of French musical styles and genres shaped audiovisual cinematic experiments during the transition to sound. Lewis' book focuses on many of the most prominent directors and screenwriters of the period, from Luis Buñuel to Jean Vigo, as well as experiments found in lesser-known films. Additionally, Lewis examines how early sound film portrayed the diverse soundscape of early 1930s France, as filmmakers drew from the music hall, popular chanson, modernist composition, opera and operetta, and explored the importance of musical machines to depict and to shape French audiovisual culture. In this light, the author discusses the contributions of well-known composers for film alongside more popular music hall styles, all of which had a voice within the heterogeneous soundtrack of French sound cinema. By delving into this fascinating developmental period of French cinematic history, Lewis encourages readers to challenge commonly-held assumptions about how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.

The transition from silent to synchronized sound film was one of the most dramatic transformations in cinema's history, as it radically changed the technology, practices, and aesthetics of filmmaking within a few short years. In France, debates about sound cinema were fierce and widespread. In French Musical Culture and the Coming of Sound Cinema, author Hannah Lewis argues that the debates about sound film resonated deeply within French musical culture of the early 1930s, and conversely, that discourses surrounding a range of French musical styles and genres shaped audiovisual cinematic experiments during the transition to sound. Lewis' book focuses on many of the most prominent directors and screenwriters of the period, from Luis Buñuel to Jean Vigo, as well as experiments found in lesser-known films. Additionally, Lewis examines how early sound film portrayed the diverse soundscape of early 1930s France, as filmmakers drew from the music hall, popular chanson, modernist composition, opera and operetta, and explored the importance of musical machines to depict and to shape French audiovisual culture. In this light, the author discusses the contributions of well-known composers for film alongside more popular music hall styles, all of which had a voice within the heterogeneous soundtrack of French sound cinema. By delving into this fascinating developmental period of French cinematic history, Lewis encourages readers to challenge commonly-held assumptions about how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.

In this Oxford Guide to Film Musicals, author Hannah Lewis gives readers fascinating new insights into the development, style, and reception of the 2016 film musical La La Land. Directed by Damien Chazelle with music by Justin Hurwitz, the film tells the story of a romance between an aspiring actress and jazz pianist as the two pursue their dreams in Los Angeles. It uses a vintage form to tell a modern story and its blend of nostalgia and realism made it an instant classic even as it prompted a range of critical and audience responses. Drawing on extensive personal interviews with director Damien Chazelle, composer Justin Hurwitz, choreographer Mandy Moore, and lyricists Benj Pasek and Justin Paul, the book explores La La Land's aesthetic approach to the film musical genre, particularly its engagement with and subversion of the classic Hollywood musical's stylistic and narrative expectations. Lewis offers readers ways of listening to the film's depiction of jazz, focusing especially on how race and genre intersect in its narrative. She also reveals new insights into the film's reception, showing how the critical response from its premiere to its place at the Academy Awards reflected broader cultural expectations and understandings of the film musical and its continued appeal for twenty-first century audiences. By exploring the range of stylistic and cultural debates that La La Land prompted, this book gives readers new ways of thinking about the film musical genre's enduring and evolving place in contemporary American culture.

In this Oxford Guide to Film Musicals, author Hannah Lewis gives readers fascinating new insights into the development, style, and reception of the 2016 film musical La La Land. Directed by Damien Chazelle with music by Justin Hurwitz, the film tells the story of a romance between an aspiring actress and jazz pianist as the two pursue their dreams in Los Angeles. It uses a vintage form to tell a modern story and its blend of nostalgia and realism made it an instant classic even as it prompted a range of critical and audience responses. Drawing on extensive personal interviews with director Damien Chazelle, composer Justin Hurwitz, choreographer Mandy Moore, and lyricists Benj Pasek and Justin Paul, the book explores La La Land's aesthetic approach to the film musical genre, particularly its engagement with and subversion of the classic Hollywood musical's stylistic and narrative expectations. Lewis offers readers ways of listening to the film's depiction of jazz, focusing especially on how race and genre intersect in its narrative. She also reveals new insights into the film's reception, showing how the critical response from its premiere to its place at the Academy Awards reflected broader cultural expectations and understandings of the film musical and its continued appeal for twenty-first century audiences. By exploring the range of stylistic and cultural debates that La La Land prompted, this book gives readers new ways of thinking about the film musical genre's enduring and evolving place in contemporary American culture.

Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music's role in the integrated soundtrack. The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism.Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell

Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music's role in the integrated soundtrack. The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism.Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell

Following years of theology of deafness based on the premise that Deaf people are simply people who cannot hear, this book breaks new ground. Presenting a new approach to Deaf people, theology and the Church, this book enables Deaf people who see themselves as members of a minority group to formulate their own theology rooted in their own history and culture. Deconstructing the theology and practice of the Church, Hannah Lewis shows how the Church unconsciously oppresses Deaf people through its view of them as people who cannot hear. Lewis reclaims Deaf perspectives on Church history, examines how an essentially visual Deaf culture can relate to the written text of the Bible and asks 'Can Jesus sign?' This book pulls together all these strands to consider how worship can be truly liberating, truly a place for Deaf people to celebrate who they are before God.

Following years of theology of deafness based on the premise that Deaf people are simply people who cannot hear, this book breaks new ground. Presenting a new approach to Deaf people, theology and the Church, this book enables Deaf people who see themselves as members of a minority group to formulate their own theology rooted in their own history and culture. Deconstructing the theology and practice of the Church, Hannah Lewis shows how the Church unconsciously oppresses Deaf people through its view of them as people who cannot hear. Lewis reclaims Deaf perspectives on Church history, examines how an essentially visual Deaf culture can relate to the written text of the Bible and asks 'Can Jesus sign?' This book pulls together all these strands to consider how worship can be truly liberating, truly a place for Deaf people to celebrate who they are before God.

Globalization, the economic crisis and related policies of austerity have led to a growth in extreme exploitation at work, with migrants particularly vulnerable. This book explores the lives of the growing numbers of severely exploited labourers in the world today, questioning how we can respond to such globalized patterns of extreme inequality.

Available Open Access under CC-BY-NC-ND licenceThis ground breaking book presents the first evidence of forced labour among displaced migrants who seek refuge in the UK. Through a critical engagement with contemporary debates about precarity, unfreedom and socio-legal status, the book explores how asylum and forced labour are linked, and enmeshed in a broader picture of modern slavery produced through globalised working conditions. Drawing on original evidence generated in fieldwork with refugees and asylum seekers, this is important reading for students and academics in social policy, social geography, sociology, politics, refugee, labour and migration studies, and policy makers and practitioners working to support migrants and tackle forced labour.

Available Open Access under CC-BY-NC-ND licenceThis ground breaking book presents the first evidence of forced labour among displaced migrants who seek refuge in the UK. Through a critical engagement with contemporary debates about precarity, unfreedom and socio-legal status, the book explores how asylum and forced labour are linked, and enmeshed in a broader picture of modern slavery produced through globalised working conditions. Drawing on original evidence generated in fieldwork with refugees and asylum seekers, this is important reading for students and academics in social policy, social geography, sociology, politics, refugee, labour and migration studies, and policy makers and practitioners working to support migrants and tackle forced labour.

Modern slavery, in the form of labour exploitation, domestic servitude, sexual trafficking, child labour and cannabis farming, is still growing in the UK and industrialised countries, despite the introduction of laws to try to stem it. This hugely topical book, by a team of high-profile activists and expert writers, is the first to critically assess the legislation, using evidence from across the field, and to offer strategies for improvement in policy and practice. It argues that, contrary to its claims to be ‘world-leading’, the Modern Slavery Act is inconsistent, inadequate and punitive; and that the UK government, through its labour market and immigration policies, is actually creating the conditions for slavery to be promoted.

Modern slavery, in the form of labour exploitation, domestic servitude, sexual trafficking, child labour and cannabis farming, is still growing in the UK and industrialised countries, despite the introduction of laws to try to stem it. This hugely topical book, by a team of high-profile activists and expert writers, is the first to critically assess the legislation, using evidence from across the field, and to offer strategies for improvement in policy and practice. It argues that, contrary to its claims to be ‘world-leading’, the Modern Slavery Act is inconsistent, inadequate and punitive; and that the UK government, through its labour market and immigration policies, is actually creating the conditions for slavery to be promoted.

Over the last 30 years, the prevalence of eating disorders has increased to become a widespread problem across the UK and worldwide. This book offers a comprehensive guide written by people with eating disorders, their families and leading researchers, clinicians and therapists, all aiming to improve understanding of practical ways of helping people with eating disorders to live and thrive in their communities. The handbook covers the important topics of understanding eating difficulties in our society's context, including the role of social media and the fashion industry, and how health care professionals and voluntary organisations currently support those with an eating disorder. It explores the value of exercise, nutrition and sleep, and considers support from parents and schools for children, as well as making reasonable accommodations for young people and adults in higher education and the workplace. Particular therapies for stabilisation and recovery are detailed, and a final section sets out examples of creative and arts-based approaches.