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1
Loew, Katharina. Special Effects and German Silent Film. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231.
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In recent decades, special effects have become a major new area of research in cinema studies. For the most part, they have been examined as spectacles or practical tools. In contrast, Special Effects and German Silent Film, foregrounds their function as an expressive device and their pivotal role in cinema’s emergence as a full-fledged art. Special effects not only shaped the look of iconic films like Nosferatu (1922) or Metropolis (1927), but they are central to a comprehensive understanding of German silent film culture writ large. This book examines special effects as the embodiment of a “techno-romantic” paradigm that seeks to harness technology – the epitome of modern materialism – as a means for accessing a spiritual realm. Employed to visualize ideas and emotions in a medium-specific way, special effects thus paved the way for film art.
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Silent topics: Essays on undocumented areas of silent film. Lanham, Md: Scarecrow Press, 2005.
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Turley, Fred. Mighty music at the movies: The cinema organ in Sheffield and the surrounding area. Sheffield: Sheaf Pub., 1990.
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Slide, Anthony. Silent Topics: Essays on Undocumented Areas of Silent Film. The Scarecrow Press, Inc., 2004.
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O'Sullivan, Carol, and Jean-François Cornu, eds. The Translation of Films, 1900-1950. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.001.0001.
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This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.
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Withall, Keith. Studying Early and Silent Cinema. Liverpool University Press, 2014. http://dx.doi.org/10.3828/liverpool/9781906733704.001.0001.
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In this introduction to early and silent cinema, which is currently enjoying a renaissance, both academically and in the popular imagination thanks to The Artist, the author provides both a comprehensive chronology of the period until the birth of sound and also a series of detailed case studies on the key films from the period—some well-known (including Griffith's The Birth of a Nation, Eisenstein's Strike and Chaplin's The Kid), some perhaps less well familiar (including Murnau's The Last Laugh and Oscar Micheaux's Within Our Gates). As well as covering in detail the major film-making figures and nations of the period, the book also provides insights into the industry in less well-documented areas. Throughout, the films and film-makers are placed in the context of rapid worldwide industrial change.
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Lupack, Barbara Tepa. Silent Serial Sensations. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748189.001.0001.
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This book, the first book-length study of pioneering and prolific filmmakers Ted and Leo Wharton, offers a fascinating account of the dynamic early film industry. As the book demonstrates, the Wharton brothers were behind some of the most profitable and influential productions of the era, including The Exploits of Elaine and The Mysteries of Myra, which starred such popular performers as Pearl White, Irene Castle, Francis X. Bushman, and Lionel Barrymore. Working from the independent film studio they established in Ithaca, New York, Ted and Leo turned their adopted town into “Hollywood on Cayuga.” By interweaving contemporary events and incorporating technological and scientific innovations, the Whartons expanded the possibilities of the popular serial motion picture and defined many of its conventions. A number of the sensational techniques and character types they introduced are still being employed by directors and producers a century later.
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Platte, Nathan. In the Selznick Family Tradition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0002.
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This chapter begins with David Selznick’s apprenticeship in silent cinema under his father, Lewis J. Selznick, in New York. As with other directors and producers who learned film in the silent era, Selznick’s early experiences shaped his attitude to cinema, even long after the introduction of sound. This chapter argues that musical traces from Lewis J. Selznick’s films, such as sheet-music tie-ins from War Brides (directed by Herbert Brenon, 1916), and the father’s tense relationship with New York’s musically effusive exhibitor, Samuel “Roxy” Rothafel, are critical for understanding David Selznick’s use of music in later films as means for reconciling aesthetic and commercial aims. The chapter concludes with Selznick’s work at Paramount, the studio at which Selznick gleaned many important lessons concerning music in early sound films. A discussion of Selznick’s Four Feathers and The Dance of Life prepares the stage for the producer’s bolder musical operations at RKO.
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Turnock, Bryan. Studying Horror Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.001.0001.
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Aimed at teachers and students new to the subject, this book is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case studies of easily accessible films, it covers the historical, production, and cultural context of each film, together with detailed textual analysis of key sequences. Sitting alongside such acknowledged classics as Psycho and Rosemary's Baby are analyses of influential non-English language films as Kwaidan, Bay of Blood, and Let the Right One In. The book concludes with a chapter on 2017's blockbuster It, the most financially successful horror film of all time, making this book the most up-to-date overview of the genre available.
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Johnston, Nessa. Sounding Decay in the Digital Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0012.
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Bill Morrison’s Decasia (2012) and Peter Delpeut’s Lyrical Nitrate (1991) are collage works made up of decayed silent-era film fragments. The films approach sound in contrasting ways: Lyrical Nitrate uses old 78 rpm recordings of operatic music as musical accompaniment to its decayed images, whereas Decasia uses a specially commissioned score and exists not only in DVD format but also as an elaborately staged performance piece. This chapter is an investigation of the role of the soundtrack within both films’ repurposing strategy, comparing and contrasting their sonic approaches, using a Chion-esque idea of “audio-vision” in an effort to understand their aesthetic workings. Despite the material heterogeneity of film sound and film image, the spectator takes in the experience as a synthesis. Yet beyond representational strategies the materiality of sounds and images in the pre- and postdigital ages is arguably the subject of exploration unifying this comparative analysis.
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Mazor, Barry. Country Music and Film. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.7.
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This chapter presents an overview of available writing and research materials within country music history and cinema studies disciplines on the interaction of commercial country music and theatrical motion pictures—how the music and its practitioners have been represented on-screen and reception of both have been affected by that representation, and how the music has contributed to films. The deficit in systematic resources for study is described—the lack of country music film archives, filmographies of related motion pictures, and dedicated catalogues. Literature (or its absence) engaging country music and the screen as they evolved and related in the silent, prewar sound, postwar country music boom, and post-1970 “New Hollywood” periods is outlined. How country music performances have served narratives and as self-contained cinematic elements are differentiated, and film’s continuing use as an agency for shaping country’s cultural respectability is outlined.
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Robinson, Harlow. Lewis Milestone. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178332.001.0001.
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This book tells the remarkable personal and professional story of Lewis Milestone (1895-1980), one of the most prolific, creative and respected film directors of Hollywood’s Golden Age. Among his many films are the classics All Quiet on the Western Front, Of Mice and Men, A Walk in the Sun, Pork Chop Hill, the original Ocean’s Eleven and Mutiny on the Bounty, starring Marlon Brando. Born in Ukraine, he came to America as a teenager and learned about film in the U.S. Army in World War I. By the early 1920s he was editing silent films in Hollywood, and soon graduated to shooting his own features. His films were nominated for 28 different Academy Awards during a career that lasted 40 years. Among the many stars whom he directed were Barbara Stanwyck, Ingrid Bergman, Gregory Peck, Errol Flynn, Gary Cooper, Frank Sinatra, Joan Crawford and Kirk Douglas. Providing biographical information, production history and critical analysis, this first major scholarly study of Milestone places his films in a political, cultural and cinematic context. Also discussed in depth, using newly available archival material, is Milestone’s experience during the Hollywood Blacklist period, when he was one of the first prominent Hollywood figures to fall under suspicion for his alleged Communist sympathies. Drawing on his personal papers at the AMPAS library, my book gives Milestone the honored place herichly deserves in the American film canon.
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Gledhill, Christine, and Julia Knight. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0001.
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This book examines film history with the goal of reframing it to accommodate new approaches to women's filmmaking. It brings together a wide range of case studies investigating women's work in cinema across its histories as they play out in different parts of the world from the pioneering days of silent cinema through recent developments in HD transmissions of live opera. It also tackles a range of conceptual and methodological questions about how to research women's film history—how, for example, to reconceptualize film history in order to locate the impact of women in that history. Furthermore, the book looks at the debates over relations among gender, aesthetics, and feminism. In this introduction, a number of interrelated themes and issues that can be grouped into four broad problematics are discussed: evidence and interpretation; feminist expectations of both contemporary and past women's filmmaking; the impact of women's film history on existing historical narratives and theories; and factors that determine the visibility of women's films and build audiences for them.
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Walker, Elsie. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0002.
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The introduction cites numerous critical responses to Michael Haneke that wrongly assume his emotional coldness and misanthropic outlook. Though his films are notorious for subjecting us to harsh experiences of violence, this book establishes a moral forerunner to Haneke: Bertolt Brecht. Like Brecht, Haneke allows for the audience’s emotional reactions, while also prompting their active engagement with a view to progressive change. More particularly, he defamiliarizes conventional uses of film sound to engage our hearts and imaginations, much as Brecht disrupted mainstream theatrical forms of representation. Haneke’s films also include numerous moments of absent sound, which are as potent as Mother Courage’s famously silent scream. This introduction stresses the importance of understanding how and why the director uses sound tracks to make us hear the social worlds his characters inhabit, and by extension our own world, better.
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Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.
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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.
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Leigh, Michele. Reading between the Lines. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0004.
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This chapter examines the caprices and idiosyncrasies of conducting research in the era of silent cinema by drawing on the case of early Russian film industry, and particularly the A. Khanzhonkov and Company film studio. To this end, the chapter looks at women working not only as actresses but also as screenwriters, directors, and editors in the early years of Russian cinema. One such woman was Antonina Nikolaevna Khanzhonkova, the first wife of studio owner Alexander Khanzhonkov. Sifting through a variety of historical texts and sources, the chapter attempts to flesh out the details of Khanzhonkova. What it discovered is a scarcity of information about Khanzhonkova and other female film workers. It argues that women are not receiving the acknowledgements and credits for their labor; that men are unjustly being given or taking credit for the work of their female counterparts; and that historians unwillingly or willfully perpetuate the crime by repeating the suppression of women's contributions to the film industry.
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Gallese, Vittorio, and Michele Guerra. The Empathic Screen. Translated by Frances Anderson. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198793533.001.0001.
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Why do people go to the movies? What does it mean to watch a movie? To what extent does our perception of the fictional nature of movies differ from our daily perception of the real world? The authors, a neuroscientist and a film theorist, propose a new multidisciplinary approach to images and film that can provide answers to these questions. According to the authors, film art, based on the interaction between spectators and the world on the screen, and often described in terms of immersion, impressions of reality, simulation, and involvement of the spectator’s body in the fictitious world he inhabits, can be reconsidered from a neuroscientific perspective, which examines the brain and its close relationship to the body. They propose a new model of perception—embodied simulation—elaborated on the basis of neuroscientific investigation, to demonstrate the role played by sensorimotor and affect-related brain circuits in cognition and film experience. Scenes from famous films, like Notorious, The Shining, Full Metal Jacket, Persona, The Silence of the Lambs, and Toy Story are described and analyzed according to this multidisciplinary approach, and used as case studies to discuss the embodied simulation model. The aim is to shed new light on the multiple resonance mechanisms that constitute one of the great secrets of cinematographic art, and to reflect on the power of moving images, which increasingly are part of our everyday life.
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Greenland, Thomas H. Developing “Big Ears”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040115.003.0004.
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This chapter examines how jazz fans, especially the most active concertgoers (the regulars), respond to a musical performance. It first considers how fans become part of jazz communities and how they contribute to the New York City jazz scene. It then shows how nonperforming musicians fill the performance space, suggesting that these offstage participants, who are also “performing” jazz, constitute the unseen scene, the silent and not-so-silent majority that forms an integral part of communal music-making. It also explains what happens when fans are in the house: how their musical tastes develop, how they view performers and performances, and how their private and public listening practices inform their understandings of and appreciation for jazz and jazz performances. The chapter concludes that when jazz audiences with “big ears” attend to and interact with live music and musicians, it creates a sympathetic environment where jazz can come alive.
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Tulloch, John, and Belinda Middleweek. Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0002.
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Chapter 1 discusses the film Intimacy as constructed discursively from two entirely different perspectives: a film reviewer’s intertextual references and professional organization of knowledge in constructing for his readers a negative view of the film and the authors’ no less intertextual, no less constructed, interdisciplinary “overlapping” of frames, interpreting Intimacy by way of a “mutual understanding” between and a “galvanizing extension” of disciplinary assumptions. In this analysis the narrative is explored via the relationship of three milieus: the sex scenes of Jay and Claire; the social world of south London beyond Jay’s flat, where this sex takes place; and Jay’s own personal memory space. The tension and balance between language and silence explored between and within these scenes reveal the film’s exploration of modern intimacy at a time when sex for reproduction, marriage, and romantic love are under constant renegotiation.
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Nuwer, Marc R. Evoked Potentials. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199341016.003.0009.
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Visual evoked potentials, brainstem auditory evoked potentials, and somatosensory evoked potentials are established clinical tests that are useful for the diagnosis of multiple sclerosis. Motor evoked potentials, cognitive event-related potentials, and vestibular evoked potentials also are used clinically to test additional pathways and functions. These objective, reproducible tools can identify clinically silent lesions, predict clinical deterioration risk, and localize levels of impairment. They differ from magnetic resonance imaging in that they assess function rather than anatomy and thereby fill a complementary role in clinical care. They also are useful in therapeutic trials because they can predict outcomes in parallel with, or earlier than, clinical examinations.
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Faxneld, Per. Becoming the Demon Woman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664473.003.0009.
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Chapter9 analyses individuals who, both on and off the stage, actively assumed the role of the demon woman. Three persons are considered in detail: Sarah Bernhardt, the Italian marchioness Luisa Casati, and silent film actress Theda Bara. They chose—or, in Bara’s case, were chosen—to embody the (more or less supernatural or occult) femme fatale, as constructed mostly by male authors and artists. Seemingly, they felt this was empowering or useful for commercial, subversive, or other purposes. The analysis attempts to tease out some of the implications this enactment of a disquieting stereotype had on an individual level as well as in a broader cultural context. This also applies to the unknown women who wore jewellery depicting devils, demons, or Eve—a rebellious token clearly drawing on motifs familiar from Satanic feminism.
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Paul, Drew. Israel/Palestine. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456128.001.0001.
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Since the early 1990s, Israel has greatly expanded a system checkpoints, walls and other barriers in the West Bank and Gaza that restrict Palestinian mobility. As a result, such border spaces have become ubiquitous elements of everyday life, with profound political, socio-cultural, and economic effects. Israel/Palestine examines how authors and filmmakers in the West Bank, Gaza, and Israel have grappled with the spread and impact of these borders in the period since the Oslo Accords of 1994. Focusing on novels by Raba’i al-Madhoun, Ghassan Kanafani, Sami Michael and Sayed Kashua, and films by Elia Suleiman, Simon Bitton, Emad Burnat, and Guy Davidi, Israel/Palestine traces how political engagement in literature and film has shifted away from previously common paradigms of resistance and coexistence. Instead, it has become reorganised around these now ubiquitous physical barriers. Using strategies of narrative fragmentation, multivocality, metafiction, fantasy, and silence to depict the effects of these borders, authors and filmmakers interrogate the notion that such spaces are impenetrable and unbreakable by revealing their deceptive and illusive qualities. In doing so, they also imagine distinct forms of protest, and redefine the relationship between cultural production and political engagement.
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Jeffery, Commission, and Moloo Rahim. 1 The Law Applicable to Procedural Issues. Oxford University Press, 2018. http://dx.doi.org/10.1093/law/9780198729037.003.0001.
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This chapter examines the various sources of procedural law in investment arbitration and articulates a hierarchy among those sources. It first considers the procedural law selected by the parties to the arbitration, emphasizing the fact that some of the laws selected by the parties impose mandatory rules that cannot then be deviated from, while others are binding, unless the parties later decide on a separate course. It then explains how the appropriate governing rules can be determined when the rules selected by the parties are silent. In particular, it describes the arbitral tribunals' role to fill gaps in the rules and suggests that, in doing so, the tribunals and the parties rely on the context of the applicable procedural rules, certain soft law protocols, and prior arbitral practice for guidance.
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Geue, Tom, and Elena Giusti, eds. Unspoken Rome. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108913843.
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Latin literature is a hotbed of holes and erasures. Its sensitivity to politics leaves it ripe for repression of all sorts of names, places and historical events, while its dense allusivity appears to hide interpretative clues in a network of texts that only the reader's consciousness can make present. This volume showcases innovative approaches to the field of Latin literature, all of which are refracted through this prism of absence, which functions as a fundamental generative force both for the hermeneutics and the ongoing literary aftermath of these texts. Reviewing and working with various influential approaches to textual absence, the contributors to Unspoken Rome treat these texts as silent types, listening out for what they do not say, and how they do not speak, whilst also tracing the ill-defined borders within which scholars and modern authors are legitimized to fill in the silences around which they are built.
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Griep, Mark A., and Marjorie L. Mikasen. ReAction! Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780195326925.001.0001.
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ReAction! gives a scientist's and artist's response to the dark and bright sides of chemistry found in 140 films, most of them contemporary Hollywood feature films but also a few documentaries, shorts, silents, and international films. Even though there are some examples of screen chemistry between the actors and of behind-the-scenes special effects, this book is really about the chemistry when it is part of the narrative. It is about the dualities of Dr. Jekyll vs. inventor chemists, the invisible man vs. forensic chemists, chemical weapons vs. classroom chemistry, chemical companies that knowingly pollute the environment vs. altruistic research chemists trying to make the world a better place to live, and, finally, about people who choose to experiment with mind-altering drugs vs. the drug discovery process. Little did Jekyll know when he brought the Hyde formula to his lips that his personality split would provide the central metaphor that would come to describe chemistry in the movies. This book explores the two movie faces of this supposedly neutral science. Watching films with chemical eyes, Dr. Jekyll is recast as a chemist engaged in psychopharmaceutical research but who becomes addicted to his own formula. He is balanced by the often wacky inventor chemists who make their discoveries by trial-and-error.
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Brady, Linzy, and Jolyon Mitchell. Theatre. Edited by Joel D. S. Rasmussen, Judith Wolfe, and Johannes Zachhuber. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198718406.013.18.
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How did the relation between Christianity and drama evolve during the long nineteenth century? How were Christian beliefs represented, promoted, and interrogated through drama? What part did Christianity play in the changing kinds, spaces, and genres of theatre? This chapter analyses the creation, production, and reception of a range of dramatic forms, including melodramas, musicals, ‘classics’, comedies, and tragedies, as well as explicitly religious, and later in the nineteenth century, cinematic dramas. Plays by George Bernard Shaw, Leo Tolstoy, and Henrik Ibsen are scrutinized alongside early silent films and the evolving passion and religious plays tradition. The chapter teases out a number of underlying tensions relating to the place of Christianity within popular and respectable theatre, romantic and realistic drama, and theatrical and screen drama. The chapter highlights how Christian beliefs were creatively used by playwrights, actors, and theatre-goers, in theatrical, domestic, and public spaces.
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November, Nancy. Beethoven's String Quartet in C-sharp Minor, Op. 131. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190059200.001.0001.
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Beethoven’s String Quartet in C-sharp Minor, Op. 131 (1826) is firmly a part of the modern-day canon, and also makes its presence felt in popular culture, notably in film. Yet in recent times, the terms in which the work is discussed and presented tend to undermine the work’s power. Although it is held up as a masterpiece, Op. 131 has often been understood in monochrome terms, as a work portraying tragedy, struggle, loss, and lack. This book takes the modern-day listener well beyond these categories of adversity or deficit. It goes back to early reception documents, including Beethoven’s own writings about the work, to help the listener reinterpret the work and re-hear it. Analyses are geared toward allowing the reader to access earlier modes of listening and interpretation, those of listeners who celebrated the work precisely for its plenitude, its richness of invention or fantasy (in Beethoven’s own words). As connoisseur listeners of Beethoven’s day implied, Op. 131 is filled with diverse musical ideas (just like a fantasia), and with a new kind of string quartet writing that is calculated to promote sustained, engaged listening. Placing this work in the context of an emerging ideology of silent or “serious” listening in Beethoven’s Europe, the book considers how this particular “late” quartet could speak with special eloquence to a highly select but passionately enthusiastic audience. It also examines how and why the reception of Op. 131 has changed so profoundly from Beethoven’s time to our own.
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Madland, David. Re-Union. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755378.001.0001.
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This book explores how labor unions are essential to all workers. Yet, union systems are badly flawed and in need of rapid changes for reform. The book's multilayered analysis presents a solution — a model to replace the existing firm-based collective bargaining with a larger, industry-scale bargaining method coupled with powerful incentives for union membership. These changes would represent a remarkable shift from the norm, but would be based on lessons from other countries, US history and current policy in several cities and states. In outlining the shift, the book details how these proposals might mend the broken economic and political systems in the United States. It also uses three examples from Britain, Canada, and Australia to explore what there is yet to learn about this new system in other developed nations. The book's practical advice extends to a proposal for how to implement the changes necessary to shift the current paradigm. This powerful call to action speaks directly to the workers affected by these policies — the very people seeking to have their voices recognized in a system that attempts to silence them.