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This first book published on film noir established the genre--a classic, at last in translation.
The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.
Modern science communication has emerged in the twentieth century as a field of study, a body of practice and a profession—and it is a practice with deep historical roots. We have seen the birth of interactive science centres, the first university actions in teaching and conducting research, and a sharp growth in employment of science communicators. This collection charts the emergence of modern science communication across the world. This is the first volume to map investment around the globe in science centres, university courses and research, publications and conferences as well as tell the national stories of science communication. How did it all begin? How has development varied from one country to another? What motivated governments, institutions and people to see science communication as an answer to questions of the social place of science? Communicating Science describes the pathways followed by 39 different countries. All continents and many cultures are represented. For some countries, this is the first time that their science communication story has been told.
Though long ignored or dismissed by film critics and scholars, Marcel Pagnol (1895-1974) was among the most influential auteurs of his era. This comprehensive overview of Pagnol’s career, the first ever published in English, highlights his unique place in French cinema as a self-sufficient writer-producer-director and his contribution to the long-term evolution of filmmaking in a broader European context. In addition to reassessing the converted playwright’s controversial prioritisation of speech over image, the book juxtaposes Pagnol’s sunny rural melodramas with the dark, urban variety of poetic realism practised by influential peers such as Jean Renoir and Marcel Carné. In his penchant for outdoor location shooting and ethnographic authenticity, as well as his stubborn attachment to independent, artisanal production values, Pagnol served as a precursor to the French New Wave and Italian Neo-Realism, inspiring the likes of Jean-Luc Godard, François Truffaut, Vittorio De Sica, and Roberto Rossellini.
This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.
Presents a revision of the late Columbia University art historian's lectures given at Indiana University in 1961.
This book is about how people behaved during the German occupation of France during World War Two, and more specifically about how individuals from different social and political backgrounds recorded and reflected on their experiences during and after these tragic events. The book focuses on the concepts of treason and sacrifice, and takes the form of an introductory overview, followed by contextualised case studies in the areas of politics, daily life, civil administration, paramilitary action, literature and film.
This is the first publication in English of the anthology that contains Breton’s definitive statement on l’humour noir, one of the seminal concepts of Surrealism, and his provocative assessments of the writers he most admired. While some of the authors featured in The Anthology of Black Humor are already well known to American readers—Swift, Kafka, Rimbaud, Poe, Lewis Carroll, and Baudelaire among them (and even then, Breton’s selections are often surprising)—many others are sure to come as a revelation. The entries range from the acerbic aphorisms of Swift, Lichtenberg, and Duchamp to the theatrical slapstick of Christian Dietrich Grabbe, from the wry missives of Rimbaud and Jacques Vache to the manic paranoia of Dali, from the ferocious iconoclasm of Alfred Jarry and Arthur Craven to the offhand hilarity of Apollinaire at his most spontaneous. For each of the forty-five authors included, Breton has provided an enlightening biographical and critical preface, situating both the writer and the work in the context of black humor—a partly macabre, partly ironic, and often absurd turn of spirit that Breton defined as "a superior revolt of the mind." "Anthologies can aim to be groundbreaking or thought-provoking; few can be said to have introduced a new phrase—or a new concept—into the language. No one had ever used the term "black humour" before this one came along, unless, perhaps, it was from a racial angle."—The Guardian Andre Breton (1896-1966), the founder and principal theorist of the Surrealist movement, is one of the major literary figures of the past century. His best-known works in English translation include Nadja, Mad Love, The Manifestoes of Surrealism, The Magnetic Fields (with Philippe Soupault), and Earthlight. Mark Polizzotti is the author of Revolution of the Mind: The Life of Andre Breton.
"Beauvoir in Time situates Simone de Beauvoir's The Second Sex in the historical context of its writing and in later contexts of its international reception, from then till now. The book takes up three aspects of Beauvoir's work more recent feminists find embarrassing: "bad sex," "dated" views about lesbians, and intersections with race and class. Through close reading of her writing in many genres, alongside contemporaneous discourses (good and bad novels in French and English, outmoded psychoanalytic and sexological authorities, ethnographic surrealism, the writing of Richard Wright and Franz Fanon), and in light of her travels to the U.S. and China, the author uncovers insights more recent feminist methodologies obscure, showing Beauvoir is still good to think with today"--