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How film emerged in 19th-century Paris amid an array of social, political, artistic and technological innovations--with works by the Lumiere brothers, Mélies, Chéret and more City of Cinematraces film's evolution from an obscure entertainment to the most powerful art form of the 20th century. Placing cinema in the context of 19th-century Parisian visual culture, this book brings together posters, paintings, studio and documentary photography, and film stills that evoke Paris as a site of consumption, demonstrate early cinema's relationship with technology and the fine arts, and highlight local and global spaces of film production. It also examines the aspects of 19th-century visual culture that gave rise to cinema as a quintessentially modern medium with an eager audience. Aligning with French beliefs that the nation's culture would be democratized through consumption, cinema reinforced a set of assumptions about French cultural and political authority and disseminated these ideas to the rest of the world. Presented here are images of and from the street by Jean Béraud, Charles Marville, Jules Chéret and Auguste and Louis Lumière; the technological experimentation of Loïe Fuller, Émile Reynaud and Georges Méliès; and the plein-air observations of Camille Pissarro and the staged artifice of Jean-Leon Gerome--all of which can be considered alongside the prototype film studios of Georges Méliès, Gaumont and Pathé. At the dawn of the 20th century, cinema is as much, if not more, a way of appropriating the world. Through arresting images and incisive texts, this book examines the origins of cinema and its position as a global medium.
What a century of border films teaches about the real and imagined worlds of the US-Mexico borderlands—and how this understanding helps build better relations across boundaries. Border Witness is an account of cultural collision and fusion between Mexico and the United States, as seen on the ground and in films from the past hundred years. Blending film studies with political and cultural geography, Michael Dear investigates the making of cross-border identity and community in the territories between two nations. Border Witness introduces a new "border film" genre just now entering its golden age. A geographer and activist, Dear adopts an accessible and engaged perspective, combining the stories told by these films with insights drawn from his own decades-long research and travel. From early silent films to virtual reality, and from revolution to the present global crisis, border films provide fresh evidence for real and imagined politics and for envisioning future transborder architectures carved from in-between spaces. In an era of global geopolitics that favors walls and war over diplomacy, Dear's insights have relevance for borders around the world.
This book is a collection of a wide range of research papers that combine both the humanities and sciences in applied informatics. In particular, it is intended for readers interested in the fields of artificial intelligence, data science, virtual reality, and intelligent systems. Technologies and findings in artificial intelligence, data science, virtual reality, and intelligent systems are being used in all academic disciplines today. This book is a compilation of specific and advanced research findings from a wide range of research fields where they are being applied today. The papers included are based on those presented in August 2022 at the International Conference on Systems Engineering (ICSEng-Tokyo), a prestigious academic conference that has been held annually since 1974. The papers have been rigorously reviewed and selected by multiple peer reviewers.
Featuring color images and stills, Under the Mexican Sky provides a comprehensive view of the enduring Mexican iconography that Figueroa crafted throughout his career as a cinematographer, working on more than 200 films and collaborating with some of the world's leading directors of the time, such as John Ford, John Houston, Emilio Fernández and Luis Buñuel.
"Published in conjunction with the exhibition In The Fields of Empty Days: The Intersection of Past and Present in Iranian Art, at the Los Angeles County Museum of Art, May 6-September 9, 2018"--Colophon.
A unique exploration of the history of the bicycle in cinema, from Hollywood blockbusters and slapstick comedies to documentaries, realist dramas, and experimental films. Cycling and Cinema explores the history of the bicycle in cinema from the late nineteenth century through to the present day. In this new book from Goldsmiths Press, Bruce Bennett examines a wide variety of films from around the world, ranging from Hollywood blockbusters and slapstick comedies to documentaries, realist dramas, and experimental films, to consider the complex, shifting cultural significance of the bicycle. The bicycle is an everyday technology, but in examining the ways in which bicycles are used in films, Bennett reveals the rich social and cultural importance of this apparently unremarkable machine. The cinematic bicycles discussed in this book have various functions. They are the source of absurd comedy in silent films, and the vehicles that allow their owners to work in sports films and social realist cinema. They are a means of independence and escape for children in melodramas and kids' films, and the tools that offer political agency and freedom to women, as depicted in films from around the world. In recounting the cinematic history of the bicycle, Bennett reminds us that this machine is not just a practical means of transport or a child's toy, but the vehicle for a wide range of meanings concerning individual identity, social class, nationhood and belonging, family, gender, and sexuality and pleasure. As this book shows, two hundred years on from its invention, the bicycle is a revolutionary technology that retains the power to transform the world.
One-volume reference work on the first twenty-five years of the cinema's international emergence from the early 1890s to the mid-1910s.
By 1915, Hollywood had become the epicenter of American filmmaking, with studio "dream factories" structuring its vast production. Filmmakers designed Hollywood studios with a distinct artistic and industrial mission in mind, which in turn influenced the form, content, and business of the films that were made and the impressions of the people who viewed them. The first book to retell the history of film studio architecture, Studios Before the System expands the social and cultural footprint of cinema's virtual worlds and their contribution to wider developments in global technology and urban modernism. Focusing on six significant early film corporations in the United States and France—the Edison Manufacturing Company, American Mutoscope and Biograph, American Vitagraph, Georges Méliès's Star Films, Gaumont, and Pathé Frères—as well as smaller producers and film companies, Studios Before the System describes how filmmakers first envisioned the space they needed and then sourced modern materials to create novel film worlds. Artificially reproducing the natural environment, film studios helped usher in the world's Second Industrial Revolution and what Lewis Mumford would later call the "specific art of the machine." From housing workshops for set, prop, and costume design to dressing rooms and writing departments, studio architecture was always present though rarely visible to the average spectator in the twentieth century, providing the scaffolding under which culture, film aesthetics, and our relation to lived space took shape.
By combining and colliding the unexpected, the US artist John Baldessari (1931-2020), created conceptual works that raise questions regarding what art is, how art is made, and what art can look like. After concluding in the 1960s that a photographic image or a text were more adequate expressions of his artistic intentions than painting, John Baldessari's practice took a new direction. Since then, Baldessari has combined subjects from the imagery of popular culture with linguistic examinations, creating works that challenge artistic norms and boundaries. Besides the two essays the book also includes a wide selection of Baldessari's own writings from 1968-2011.