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This first book published on film noir established the genre--a classic, at last in translation.
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Story of cinema -- How movies are made -- Movie genres -- World cinema -- A-Z directors -- Must-see movies.
In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.
On the American underground cinema
This new volume in this influential series of anthologies covers the vibrant and turbulent period in which the editorial make-up and policy of the journal changed radically, and theory, history and politics dominated critical debate.
Originally published: Cambridge, Mass.: Harvard University Press, 1986.
Play is one of humanity's straightforward yet deceitful ideas: though the notion is unanimously agreed upon to be universal, used for man and animal alike, nothing defines what all its manifestations share, from childish playtime to on stage drama, from sporting events to market speculation. Within the author's anthropological field of work (Mongolia and Siberia), playing holds a core position: national holidays are called "Games," echoing in that way the circus games in Ancient Rome and today's Olympics. These games convey ethical values and local identity. Roberte Hamayon bases her analysis of the playing spectrum on their scrutiny. Starting from fighting and dancing, encompassing learning, interaction, emotion and strategy, this study heads towards luck and belief as well as the ambiguity of the relation to fiction and reality. It closes by indicating two features of play: its margin and its metaphorical structure. Ultimately revealing its consistency and coherence, the author displays play as a modality of action of its own. "Playing is no 'doing' in the ordinary sense" once wrote Johan Huizinga. Isn't playing doing something else, elswhere and otherwise ?
This publication focuses on the so-called "crisis period" (after 1935 and during the Second World War). Gathering art-historical essays addressing the crisis in Giacometti's work and modernity in general, as well as more than 100 key works, the editors revisit his work through the notions of a split and non-linearity. Exhibition: Musée d'art et d'histoire, Geneva, November 5, 2009 - February 2, 2010; Museo Cantonale d'arte, Lugano, March 20 - June 20, 2010.