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This article discusses the ‘new nature writing’ and the work of some of its key practitioners: Mark Cocker, Roger Deakin, Kathleen Jamie, Richard Mabey and Robert Macfarlane. The new nature writing focuses on finding meaning not in the rare and exotic but in our common, unremarkable encounters with the natural world, and in combining both scientific, scholarly observation of nature with carefully crafted, discursive writing. In this sense it speaks to a contemporary eco-political moment while critically engaging with the rich history of nature writing and thinking about the environment in Britain from the Romantic era onwards, and particularly since the late 1960s.

How does a film come to look the way it does? And what influence does the look of a film have on our reaction to it? The role of cinematography, as both a science and an art, is often forgotten in the chatter about acting, directing, and budgets. The successful cinematographer must have a keen creative eye, as well as expert knowledge about the constantly expanding array of new camera, film, and lighting technologies. Without these skills at a director's disposal, most movies quickly fade from memory.Cinematographyfocuses on the highlights of this art and provides the first comprehensive overview of how the field has rapidly evolved, from the early silent film era to the digital imagery of today.The essays in this volume introduce us to the visual conventions of the Hollywood style, explaining how these first arose and how they have subsequently been challenged by alternative aesthetics. In order to frame this fascinating history, the contributors employ a series of questions about technology (how did new technology shape cinematography?), authorship (can a cinematographer develop styles and themes over the course of a career?), and classicism (how should cinematographers use new technology in light of past practice?). Taking us from the hand-cranked cameras of the silent era to the digital devices used today, the collection of original essays explores how the art of cinematography has been influenced not only by technological advances, but also by trends in the movie industry, from the rise of big-budget blockbusters to the spread of indie films.The book also reveals the people behind the camera, profiling numerous acclaimed cinematographers from James Wong Howe to Roger Deakins. Lavishly illustrated with over 50 indelible images from landmark films,Cinematographyoffers a provocative behind-the-scenes look at the profession and a stirring celebration of the art form. Anyone who reads this history will come away with a fresh eye for what appears on the screen because of what happens behind it.

I is for \"I'm Not There\" (Nov. 21), a ruminative essay on the Bob Dylan mystique, in which seven different actors of both genders play aspects of the man from Hibbing, Minn. Todd Haynes, who hasn't had a feature in the marketplace since the Douglas Sirk homage \"Far From Heaven\" (2002), co-wrote and directed. Like many of this fall's releases,\"I'm Not There\" premieres later this month at the Toronto International Film Festival. Q for queasy: Rough cuts of director Tim Burton's version of the Stephen Sondheim musical thriller \"Sweeney Todd\" (Dec. 21) reportedly contained enough blood (it's about a 19th Century serial- killing barber) to make DreamWorks and Warner Bros. nervous. No one's going to confuse this Broadway-to-screen adaptation with \"Hairspray.\" Johnny Depp and Helena Bonham Carter star as Todd and Mrs. Lovett, his accomplice in filling the \"worst pies in London.\" For those who've been counting to 26, here are three more to watch for: \"Things We Lost in the Fire\" (Oct. 26), starring Halle Berry and Benicio Del Toro; \"The Kite Runner\" (Nov. 16), an adaptation of Afghanistan-set novel, directed by Marc Forster (\"Finding Neverland); and \"The Walker\" (Dec. 21), directed by Paul Schrader with a plot that's as eternal as anything else in Washington, D.C.: escorts and scandal.