Robert Singer – författare

Beyond Realism: Naturalist Film in Theory and Practice is the first major critical study of international naturalist cinema. Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. From its earliest representation in silent films such as Walsh's Regeneration (1915), and Eisenstein's Stachka/Strike (1925), to recent productions such as Chukwu's Clemency (2019), and Aronofsky's The Whale (2022), the naturalist film narrative encompasses the whole of film history, traversing language, movement, and genre. The naturalist film is predicated on two foundational, intersecting paradigms that configure as one ideological system in an overarching scientific and social experimental narrative. Either the scientific or social paradigm may be dominant in the film narrative or they may simply co-exist, but a naturalist film reveals both templates and, most significantly, suggests an implicit cinematic anthropology that renders the body as an observed spectacle.

Brooklyn, New York, a borough of New York City, is known for its distinctive vernacular, its communal feel on the fringes of a booming city, and its famous bridge, a gateway to the unlimited opportunities in Manhattan. Of course, Coney Island deserves a mention as it garners its own fame independent of Brooklyn, its parent locale. New York City moviemaking got its start in Brooklyn when Charles E. Chinnock shot his silent film in 1894. Since then, many films have been made, studios opened and stars born in Brooklyn, contributing to its undeniable influence in the film industry.This work is a collection of essays on the topic of Brooklyn as portrayed in film. It includes a discussion of race relations in films dealing with Brooklyn, the story of Jackie Robinson as shown on film, the changing face of cinematic Brooklyn and some thoughts on a Brooklyn filmgoer's experience. The combination of Brooklyn and baseball in the films of Paul Auster is examined, as well as the typical portrayal of a Brooklyn native in film.

French novelist Emile Zola, noted for his championship of the Naturalist novel, has been one of the most adapted authors in world literature. There have been approximately 80 film adaptations of his late 19th century novels and short stories, many of which occurred during the silent era of international film production (1895-1927). While the aesthetic elements of Zola's fiction continue to appeal to international cinema, the author's thematic naturalism and his "scientific methodology" have provided an ideological framework that incorporates art, science and history into the many cinematic adaptations of his work.This collection of essays, contributed by scholars of French literature and film, explores the dynamic relationship between Zola's fiction and its film adaptations, examining critically significant cinematic adaptations of Zola's novels from a variety of theoretical and interdisciplinary perspectives. The 13 essays discuss the adaptation of Zola's works within the limitations of the silent cinema; the challenges posed by film censorship and the notoriety of the author's naturalist text; the ideological inflection given to Zola's working class narratives; and Zola's representation of women. Zola's works are placed within their respective historical contexts, as the essays address encoded anti-Nazi sentiment in films produced under the German occupation of France during World War II and the French Communist Party's reception of the filmic adaptation of Germinal. Other adapted works addressed in these chapters include La Terre, Nana, La Bete humaine, Au Bonheur des Dames, Therese Raquin, Gervaise and Pot-Bouille.

The world watches commercials. This volume explores this aesthetic and cultural presence, the intermedial relationship and phenomena of international broadcast commercials as film art. Whether sitting in front of a television set in Egypt, Belgium or Portugal, ‘surfing’ across streaming services in Hungary, the Philippines or Chile, or glancing at messages broadcast on electronic billboards in Japan, India, Germany or in movie theatres and television screens in the United States, the question remains relevant: what are we looking at?Consuming Global Images: The International Television Commercial as Short Film addresses the theoretical, industrial and creative gap in the history and criticism of the international broadcast commercial in respective media cultures as it reads the advertisement as a short film.

With approximately 13.8 million minimally-invasive cosmetic surgeries performed in the United States, and approximately 12.2 million minimally invasive cosmetic treatments performed in 2011, most of these are undertaken in surgeons� group practice or surgery center locations. The most common as well as the most dreaded complications are presented along with articles presenting �best practice� for cosmetic surgery centers. Each topic presents Anesthesia, Infection control, Complication avoidance and management, along with technique video. Some of the topics include: Patient Selection in Outpatient Surgery; Airway Management in the Outpatient Setting; Deep Venous Thrombosis - Prevention and Management; Intravenous Sedation from the Surgeon�s Perspective; Postoperative Nausea and Vomiting; among other relevant issues to the surgeon. Guest Editors are Geoffrey Keyes and Robert Singer, both involved with the Association for Accreditation of Ambulatory Surgery and fervent about certified surgeons running ambulatory facilities for best outcomes and avoidance of mortalities and severe morbidities.

"Outpatient Plastic Surgery is a clear, handy reference not only for the young plastic surgeon but also as a resource for those well established in practice." Reviewed by Aesthetic Surgery Journal., May 2015

One of the most important yet overlooked of Hollywood auteurs, Budd Boetticher was responsible for a number of classic films, including his famous ‘Ranown’ series of westerns starring Randolph Scott. With influential figures like Martin Scorsese and Clint Eastwood acknowledging Boetticher’s influence, and with growing academic interest in his work, Gary D. Rhodes and Robert Singer present a vital collection of essays on the director’s long career, from a range of international scholars. Looking at celebrated films like Buchanan Rides Alone (1958) and Comanche Station (1960), as well as at lesser-known works like Escape in the Fog (1945) and Behind Locked Doors (1948), this book also addresses Boetticher’s influential television work on the James Garner series Maverick, and Boetticher’s continuing aesthetic influence on contemporary TV classics like Breaking Bad.

Beyond Realism: Naturalist Film in Theory and Practice is the first major critical study of international naturalist cinema. Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. From its earliest representation in silent films such as Walsh's Regeneration (1915), and Eisenstein's Stachka/Strike (1925), to recent productions such as Chukwu's Clemency (2019), and Aronofsky's The Whale (2022), the naturalist film narrative encompasses the whole of film history, traversing language, movement, and genre. The naturalist film is predicated on two foundational, intersecting paradigms that configure as one ideological system in an overarching scientific and social experimental narrative. Either the scientific or social paradigm may be dominant in the film narrative or they may simply co-exist, but a naturalist film reveals both templates and, most significantly, suggests an implicit cinematic anthropology that renders the body as an observed spectacle.

One of the most important yet overlooked of Hollywood auteurs, Budd Boetticher was responsible for a number of classic films, including his famous ‘Ranown’ series of westerns starring Randolph Scott. With influential figures like Martin Scorsese and Clint Eastwood acknowledging Boetticher’s influence, and with growing academic interest in his work, Gary D. Rhodes and Robert Singer present a vital collection of essays on the director’s long career, from a range of international scholars. Looking at celebrated films like Buchanan Rides Alone (1958) and Comanche Station (1960), as well as at lesser-known works like Escape in the Fog (1945) and Behind Locked Doors (1948), this book also addresses Boetticher’s influential television work on the James Garner series Maverick, and Boetticher’s continuing aesthetic influence on contemporary TV classics like Breaking Bad.

The American television commercial has an aesthetic and historical dynamic linking it directly to cinematic and media cultures. Consuming Images: Film Art and the American Television Commercial establishes the complex vitality of the television commercial both as a short film and as an art form. Through close and comparative readings, the book examines the influence of Hollywood film styles on the television commercial, and the resulting influence of the television commercial on Hollywood, exploring an intertwined aesthetic and technical relationship. Analysing key commercials over the decades that feature new technologies and film aesthetics that were subsequently adopted by feature filmmakers, the book establishes the television commercial as a vital form of film art.

The American television commercial has an aesthetic and historical dynamic linking it directly to cinematic and media cultures. Consuming Images: Film Art and the American Television Commercial establishes the complex vitality of the television commercial both as a short film and as an art form. Through close and comparative readings, the book examines the influence of Hollywood film styles on the television commercial, and the resulting influence of the television commercial on Hollywood, exploring an intertwined aesthetic and technical relationship.Analysing key commercials over the decades that feature new technologies and film aesthetics that were subsequently adopted by feature filmmakers, the book establishes the television commercial as a vital form of film art.

Contributions by Vlad Dima, Laura Hatry, Alicia Kozma, Lynette Kuliyeva, Madhuja Mukherjee, Frank Percaccio, Gary D. Rhodes, Courtney Ruffner Grieneisen, Marlisa Santos, Michael L. Shuman, and Robert SingerMovie posters, regardless of their country of origin, have become indelibly linked with the films they represent, often assuming a status as visual encapsulations of films within collective memory. Long after their initial role in promotion is complete, these posters endure as iconic images, etched into film history and cultural consciousness. One can hardly hear mention of Steven Spielberg’s landmark production Jaws, for example, without immediately picturing the evocative poster art of Roger Kastel.Film by Design: The Art of the Movie Poster is a groundbreaking and comprehensive exploration of the international and Hollywood movie poster as a dynamic artistic and cultural formation. Drawing inspiration from such prominent genres as horror, science fiction, and noir, the twelve essays in this collection provide insightful analyses of the movie poster as a vital component of the cinematic landscape from the silent era to the contemporary period. Crucially, this anthology rejects the notion of movie posters as mere historical artifacts or advertising tools and instead examines them as integral parts of a broader aesthetic framework interwoven into their respective film narratives. Each chapter, whether focusing on controversies, Cubism, or Cuba, is accessible to scholars, students, and fans alike. Through its intervention in film studies, Film by Design reveals the movie poster to be an ever-evolving medium, firmly grounded in both theory and practice, while serving as an essential and enduring element within the realm of film art.

Contributions by Vlad Dima, Laura Hatry, Alicia Kozma, Lynette Kuliyeva, Madhuja Mukherjee, Frank Percaccio, Gary D. Rhodes, Courtney Ruffner Grieneisen, Marlisa Santos, Michael L. Shuman, and Robert SingerMovie posters, regardless of their country of origin, have become indelibly linked with the films they represent, often assuming a status as visual encapsulations of films within collective memory. Long after their initial role in promotion is complete, these posters endure as iconic images, etched into film history and cultural consciousness. One can hardly hear mention of Steven Spielberg’s landmark production Jaws, for example, without immediately picturing the evocative poster art of Roger Kastel.Film by Design: The Art of the Movie Poster is a groundbreaking and comprehensive exploration of the international and Hollywood movie poster as a dynamic artistic and cultural formation. Drawing inspiration from such prominent genres as horror, science fiction, and noir, the twelve essays in this collection provide insightful analyses of the movie poster as a vital component of the cinematic landscape from the silent era to the contemporary period. Crucially, this anthology rejects the notion of movie posters as mere historical artifacts or advertising tools and instead examines them as integral parts of a broader aesthetic framework interwoven into their respective film narratives. Each chapter, whether focusing on controversies, Cubism, or Cuba, is accessible to scholars, students, and fans alike. Through its intervention in film studies, Film by Design reveals the movie poster to be an ever-evolving medium, firmly grounded in both theory and practice, while serving as an essential and enduring element within the realm of film art.

This book constitutes the thoroughly refereed post-proceedings of the Second International Conference on Subject-Oriented Business Process Management, S-BPM ONE 2010, held in Karlsruhe, Germany in October 2010.The 10 revised full papers presented together with one invited keynote paper and three panel statements were carefully reviewed and selected from initially 17 submissions. The papers present innovative cross-disciplinary ideas, concepts, methods, tools and results in foundational and applied research as well as studies on the realization of such innovations in the real world - all based on the promising new paradigm of subject-oriented business process management.

S-BPM stands for “subject-oriented business process management” and focuses on subjects that represent the entities (people, programs etc.) that are actively engaged in processes. S-BPM has become one of the most widely discussed approaches for process professionals. Its potential particularly lies in the integration of advanced information technology with organizational and managerial methods to foster and leverage business innovation, operational excellence and intra- and inter-organizational collaboration. Thus S-BPM can also be understood as a stakeholder-oriented and social business process management methodology.In this book, the authors show how S-BPM and its tools can be used in order to solve communication and synchronization problems involving humans and/or machines in an organization. All the activities needed in order to implement a business process are shown step by step; it starts by analyzing the problem, continues with modeling and validating thecorresponding process, and finishes off by embedding the process into the organization. The final result is a workflow that executes the process without the need for any programming. To this end, in the first step a very simple process is implemented, which is subsequently extended and improved in “adaption projects,” because additional problems have to be solved. This approach reflects the organizational reality, in which processes must always be changed and adapted to new requirements. This is a hands-on book, written by professionals for professionals, with a clear and concise style, a wealth of illustrations (as the title suggests), and focusing on an ongoing example with a real industrial background. Readers who want to execute all the steps by themselves can simply download the S-BPM tool suite from the www.i2pm.net website.

S-BPM stands for “subject-oriented business process management” and focuses on subjects that represent the entities (people, programs etc.) that are actively engaged in processes.