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An Unchanging Blue provides a generous sampling of translations (with German originals) taken from ten collections of Rolf Dieter Brinkmann’s poetry published between 1962 and 1975. An extensive introduction by Mark Terrill contextualizes Brinkmann’s place in postwar German literature.
British cinema has been around from the very birth of motion pictures, from black-and-white to color, from talkies to sound, and now 3D, it has been making a major contribution to world cinema. Many of its actors and directors have stayed at home but others ventured abroad, like Charlie Chaplin and Alfred Hitchcock. Today it is still going strong, the only real competition to Hollywood, turning out films which appeal not only to Brits, just think of Bridget Jones, while busily adding to franchises like James Bond and Harry Potter. So this Historical Dictionary of British Cinema has a lot of ground to cover. This it does with over 300 dictionary entries informing us about significant actors, producers and directors, outstanding films and serials, organizations and studios, different films genres from comedy to horror, and memorable films, among other things. Two appendixes provide lists of award-winners. Meanwhile, the chronology covers over a century of history. These parts provide the details, countless details, while the introduction offers the big story. And the extensive bibliography points toward other sources of information.
The first book to address the significance of the materials and methods used to make contemporary artworks Today, artists are able to create using multiple methods of production—from painting to digital technologies to crowdsourcing—some of which would have been unheard of just a few decades ago. Yet, even as our means of making art become more extraordinary and diverse, they are almost never addressed in their specificity. While critics and viewers tend to focus on the finished products we see in museums and galleries, authors Glenn Adamson and Julia Bryan-Wilson argue that the materials and processes behind the scenes used to make artworks are also vital to current considerations of authorship and to understanding the economic and social contexts from which art emerges. This wide-ranging exploration of different methods and media in art since the 1950s includes nine chapters that focus on individual processes of making: Painting, Woodworking, Building, Performing, Tooling Up, Cashing In, Fabricating, Digitizing, and Crowdsourcing. Detailed examples are interwoven with the discussion, including visuals that reveal the intricacies of techniques and materials. Artists featured include Ai Weiwei, Alice Aycock, Isa Genzken, Los Carpinteros, Paul Pfeiffer, Doris Salcedo, Santiago Sierra, and Rachel Whiteread.
This international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag and script-based theatre it unravels the dynamic relationship performance has with queerness as it is presented in local and transnational contexts.
Caravaggio (1986), Derek Jarman's portrait of the Italian Baroque artist, shows the painter at work with models drawn from Rome's homeless and prostitutes, and his relationship with two very different lovers: Ranuccio, played by Sean Bean, and Lena, played by Tilda Swinton. It is probably the closest Derek Jarman came to a mainstream film. And yet the film is a uniquely complex and lucid treatment of Jarman's major concerns: violence, history, homosexuality, and the relation between film and painting. In particular, according to Leo Bersani and Ulysse Dutoit, Caravaggio is unlike Jarman's other work in avoiding a sentimentalising of gay relationships and in making no neat distinction between the exercise and the suffering of violence. Film-making involves a coercive power which, for Bersani and Dutoit, Jarman may, without admitting it to himself, have found deeply seductive. But in Caravaggio this power is renounced, and the result is Jarman's most profound, unsettling and astonishing reflection on sexuality and identity.
Discusses the relation of Venetian color to social, cultural, and environmental factors
Ecofeminist Science Fiction: International Perspectives on Gender, Ecology, and Literature provides guidance in navigating some of the most pressing dangers we face today. Science fiction helps us face problems that threaten the very existence of humankind by giving us the emotional distance to see our current situation from afar, separated in our imaginations through time, space, or circumstance. Extrapolating from contemporary science, science fiction allows a critique of modern society, imagining more life-affirming alternatives. In this collection, ecocritics from five continents scrutinize science fiction for insights into the fundamental changes we need to make to survive and thrive as a species. Contributors examine ecofeminist themes in films, such as Avatar, Star Wars, and The Stepford Wives, as well as television series including Doctor Who and Westworld. Other scholars explore an internationally diverse group of both canonical and lesser-known science fiction writers including Oreet Ashery, Iraj Fazel Bakhsheshi, Liu Cixin, Louise Erdrich, Hanns Heinz Ewers, Larissa Lai, Ursula K. Le Guin, Chen Qiufan, Mary Doria Russell, Larissa Sansour, Karen Traviss, and Jeanette Winterson. Ecofeminist Science Fiction explores the origins of human-caused environmental change in the twin oppressions of women and of nature, driven by patriarchal power and ideologies. Female embodiment is examined through diverse natural and artificial forms, and queer ecologies challenge heteronormativity. The links between war and environmental destruction are analyzed, and the capitalist motivations and means for exploiting nature are critiqued through postcolonial perspectives.
One dark night in Cape Town, Rosélie's husband goes out for a pack of cigarettes and never comes back. Not only is she left with unanswered questions about his violent death but she is also left without any means of support. At the urging of her housekeeper and best friend, the new widow decides to take advantage of the strange gifts she has always possessed and embarks on a career as a clairvoyant. As Rosélie builds a new life for herself and seeks the truth about her husband's murder, acclaimed Caribbean author Maryse Condé crafts a deft exploration of post-apartheid South Africa and a smart, gripping thriller. The Story of the Cannibal Woman is both contemporary and international, following the lives of an interracial, intercultural couple in New York City, Tokyo, and Capetown. Maryse Condé is known for vibrantly lyrical language and fearless, inventive storytelling -- she uses both to stunning effect in this magnificently original novel.