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  <id>13470</id>
  <name><![CDATA[Murray Smith]]></name>
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  <id type="integer">23952</id>
  <isbn>0851708706</isbn>
  <isbn13>9780851708706</isbn13>
  <text_reviews_count type="integer">1</text_reviews_count>
  <title>
    <![CDATA[Trainspotting]]>
  </title>
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  <link>http://www.goodreads.com/book/show/23952.Trainspotting</link>
  <average_rating>4.22</average_rating>
  <ratings_count>9</ratings_count>
  <description>
    <![CDATA[In 1996, <em>Trainspotting</em> was the biggest thing in British culture. Brilliantly and aggressively marketed, it crossed into the mainstream despite being a black comedy set against the backdrop of heroin addiction in Edinburgh. Produced by Andrew MacDonald, scripted by John Hodge, and directed by Danny Boyle--the team behind <em>Shallow Grave</em> (1994)--<em>Trainspotting</em> was an adaptation of Irvine Welsh's barbed novel of the same title. The film is crucial for understanding British culture in the context of devolution and the rise of &quot;Cool Britannia.&quot;<br/>	Murray Smith unpicks the processes that led to <em>Trainspotting's</em> enormous success. He isolates various factors--the film's eclectic soundtrack, its depiction of Scottish identity, its attitude to deprivation, drugs and violence, its traffic with American cultural forms, its synthesis of realist and fantastic elements, and its complicated relationship to &quot;heritage&quot;--that make <em>Trainspotting</em> such a vivid document of its time. Although it heralded a false dawn for British filmmaking, <em>Trainspotting</em> is, Smith concludes, both authentically vernacular and yet transnational in its influences and ambitions.]]>
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    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
  </author>
  </authors>  <published>2002</published>
</book>

        <book>
  <id type="integer">4438917</id>
  <isbn>0745136702</isbn>
  <isbn13>9780745136707</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Stone Dancer (Paragon Softcover Large Print Books)]]>
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  <link>http://www.goodreads.com/book/show/4438917.Stone_Dancer</link>
  <average_rating>4.50</average_rating>
  <ratings_count>2</ratings_count>
  <description>
    <![CDATA[]]>
  </description>
<authors>
    <author>
    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
  </author>
  </authors>  <published>1995</published>
</book>

        <book>
  <id type="integer">37250</id>
  <isbn>140515411X</isbn>
  <isbn13>9781405154116</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Thinking Through Cinema: Film As Philosophy]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1168872953m/37250.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1168872953s/37250.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/37250.Thinking_Through_Cinema_Film_As_Philosophy</link>
  <average_rating>4.00</average_rating>
  <ratings_count>2</ratings_count>
  <description>
    <![CDATA[Over the last decade the philosophy of film has emerged as a distinctivefield within aesthetics, engaging with a variety of questions concerningthe relationship between film and art. One question in particularhas become very prominent in philosophical discussions of film: to what extent can film-or individual films-act as a vehicle of or forum for philosophy itself? This is the domain of &quot;film as philosophy,&quot; which forms the focus of this volume. The collection brings together a wide range of contributors, including both philosophers and film scholars. All of them address the question of whether philosophy can take the form of, or be articulated through, film. The contributors canvas a wide variety of forms and periods of film as they present diverse answers to this question.]]>
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    <author>
    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
  </author>
  </authors>  <published>2006</published>
</book>

        <book>
  <id type="integer">37247</id>
  <isbn>019818347X</isbn>
  <isbn13>9780198183471</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Engaging Characters: Fiction, Emotion, and the Cinema]]>
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  <image_url>http://www.goodreads.com/images/nocover-111x148.jpg</image_url>
  <small_image_url>http://www.goodreads.com/images/nocover-60x80.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/37247.Engaging_Characters_Fiction_Emotion_and_the_Cinema</link>
  <average_rating>3.50</average_rating>
  <ratings_count>2</ratings_count>
  <description>
    <![CDATA[Thrillers, tear jerkers, horror movies, melodramas--like so many movie terms, these genre designations immediately evoke characteristic kinds of emotional response.  Yet emotion is a subject that film and literary theory have traditionally dealt with in only the most impressionistic and<br/>tangential fashion.  Engaging Characters presents a precise discussion of the varieties of emotional response to films, integrating them into a larger theory of our engagement (or &quot;identification&quot;) with characters in both cinematic and literary fictions. Films and filmmakers discussed include The<br/>Accused; Hitchcock (including detailed analyses of The Man Who Knew Too Much [1956] and Saboteur); Godard; Ruiz; Bunuel's That Obscure Object of Desire; Dovzhenko's Arsenal and Preminger's Daisy Kenyon; Bresson's L'Argent; Eisenstein's Strike; and Melville's Le Doulos.]]>
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    <author>
    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
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  </authors>  <published>1995</published>
</book>

        <book>
  <id type="integer">3076542</id>
  <isbn>0671784684</isbn>
  <isbn13>9780671784683</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Devil's Juggler]]>
  </title>
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  <small_image_url>http://www.goodreads.com/images/nocover-60x80.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/3076542.Devil_s_Juggler</link>
  <average_rating>3.00</average_rating>
  <ratings_count>2</ratings_count>
  <description>
    <![CDATA[]]>
  </description>
<authors>
    <author>
    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
    <small_image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-50x66.jpg]]></small_image_url>
    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
  </author>
  </authors>  <published>1993</published>
</book>

        <book>
  <id type="integer">767446</id>
  <isbn>0198159218</isbn>
  <isbn13>9780198159216</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Film Theory and Philosophy]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1178168854m/767446.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1178168854s/767446.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/767446.Film_Theory_and_Philosophy</link>
  <average_rating>5.00</average_rating>
  <ratings_count>1</ratings_count>
  <description>
    <![CDATA[While concepts from and debates within Continental philosophy have long formed a backdrop to arguments in film theory and criticism, exchanges between Anglo-American `analytic' philosophy and film studies have been relatively few and far between. In recent years this has begun to change, as the consensus around semiotic and psychoanalytic approaches has weakened, as film scholars have turned their attention to other sources such as cognitive theory and analytic philosophy, and as philosophers have taken a more focused interest in film.     This volume provides further momentum to these developments. It is comprised of new essays on a wide range of topics by both film scholars and philosophers who share the commitment to conceptual investigation, logical consistency, and clarity of argument that characterizes analytic philosophy.     The first section addresses the nature of cinematic representation, while the second section re-examines notions of authorship and intentionality in our understanding and appreciation of films. Sections 3 and 4 look at ideology and aesthetics respectively, while the final section considers the nature and place of emotion in film spectatorship. The diversity of the questions addressed here (aesthetics and politics in black film theory, film music, authorship, genre, comedy, epistemology, feminism, and film theory)is matched by the range of positions argued for and demonstrates a vital plurality of perspectives rather than a single line of thought.]]>
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    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
  </author>
    <author>
    <id>154324</id>
        <name><![CDATA[Richard Allen]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/154324.Richard_Allen]]></link>
    <average_rating>3.52</average_rating>
    <ratings_count>97</ratings_count>
    <text_reviews_count>21</text_reviews_count>
  </author>
  </authors>  <published>1998</published>
</book>

        <book>
  <id type="integer">7117096</id>
  <isbn>0671784641</isbn>
  <isbn13>9780671784645</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Devil's Juggler]]>
  </title>
  <image_url>http://www.goodreads.com/images/nocover-111x148.jpg</image_url>
  <small_image_url>http://www.goodreads.com/images/nocover-60x80.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/7117096-devil-s-juggler</link>
  <average_rating>0.0</average_rating>
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    <![CDATA[]]>
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    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
  </author>
    <author>
    <id>3140638</id>
        <name><![CDATA[Bill Grose]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
    <small_image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-50x66.jpg]]></small_image_url>
    <link><![CDATA[http://www.goodreads.com/author/show/3140638.Bill_Grose]]></link>
    <average_rating>0.0</average_rating>
    <ratings_count>0</ratings_count>
    <text_reviews_count>0</text_reviews_count>
  </author>
  </authors>  <published>1993</published>
</book>

        <book>
  <id type="integer">6728154</id>
  <isbn>0754002748</isbn>
  <isbn13>9780754002741</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Legacy]]>
  </title>
  <image_url>http://www.goodreads.com/images/nocover-111x148.jpg</image_url>
  <small_image_url>http://www.goodreads.com/images/nocover-60x80.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/6728154-legacy</link>
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  <description>
    <![CDATA[Fourteen people sit in a Dublin lawyer's office to hear the last will and testament of David Fitzrowan, multi-millionaire owner of Zeralda Electronics. The principal beneficiaries are easy, until the last codicil granting the bulk of his fortune to the unknown illegitimate son.]]>
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    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
  </author>
    <author>
    <id>427892</id>
        <name><![CDATA[David Threlfall]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
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    <link><![CDATA[http://www.goodreads.com/author/show/427892.David_Threlfall]]></link>
    <average_rating>0.0</average_rating>
    <ratings_count>0</ratings_count>
    <text_reviews_count>0</text_reviews_count>
  </author>
  </authors>  <published>1999</published>
</book>

        <book>
  <id type="integer">6282806</id>
  <isbn>0921835426</isbn>
  <isbn13>9780921835424</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Mental Skills for the Artistic Sports]]>
  </title>
  <image_url>http://www.goodreads.com/images/nocover-111x148.jpg</image_url>
  <small_image_url>http://www.goodreads.com/images/nocover-60x80.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/6282806.Mental_Skills_for_the_Artistic_Sports</link>
  <average_rating>0.0</average_rating>
  <ratings_count>0</ratings_count>
  <description>
    <![CDATA[Noted sports psychologist Dr. Murray Smith provides a step-by-step training program involving the seven essential mental skills of relaxation, mental rehearsal, staying positive, realistic goal setting, on-task focus of attention, control of emotions, and becoming and staying energized. Each skill is presented in introductory, intermediate and advanced levels with sample scripts to guide coaches and athletes.]]>
  </description>
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    <author>
    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
  </author>
  </authors>  <published>1998</published>
</book>

        <book>
  <id type="integer">6159537</id>
  <isbn>0140242902</isbn>
  <isbn13>9780140242904</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Killing Time]]>
  </title>
  <image_url>http://www.goodreads.com/images/nocover-111x148.jpg</image_url>
  <small_image_url>http://www.goodreads.com/images/nocover-60x80.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/6159537.Killing_Time</link>
  <average_rating>0.0</average_rating>
  <ratings_count>0</ratings_count>
  <description>
    <![CDATA[]]>
  </description>
<authors>
    <author>
    <id>13470</id>
        <name><![CDATA[Murray Smith]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
    <small_image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-50x66.jpg]]></small_image_url>
    <link><![CDATA[http://www.goodreads.com/author/show/13470.Murray_Smith]]></link>
    <average_rating>4.09</average_rating>
    <ratings_count>82</ratings_count>
    <text_reviews_count>28</text_reviews_count>
  </author>
  </authors>  <published>1995</published>
</book>

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