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Like Pier Paolo Pasolini, Alain Robbe-Grillet, and Marguerite Duras, Susan Sontag has come to filmmaking in the course of a career as a novelist and essayist. In 1968 she accepted a Swedish studio's invitation to write and direct a move in Stockholm. Duet for Cannibals is the result. Frederic Tuten, in Vogue magazine, wrote: "Duet for Cannibals is a witty, bone-dry serio-comedy that fascinates and disturbs in turn....Dr. Arthur Bauer, attractive in a swinish way, fiftyish, arch-revolutionary theoretician engaged in writing his memoirs, is Sontag's anti- or false revolutionary, an arrogant, self-aggrandizing trickster who blurs together revolution and his ego. Francesca, Bauer's neurotic, elegantly seductive wife, supports her husband's mystifications while composing her own. Tomas, an earnest student revolutionary hired by Bauer to catalogue his documents, and Ingrid, Tomas's impressionable girlfriend, are the fodder for the elder couple's psychological and sexual feast." With this film Susan Sontag joins the company of writers-filmmakers and offers her own special contribution to cinematic art. Note: This eBook edition does not contain images.
Styles of Radical Will, Susan Sontag's second collection of essays, extends the investigations she undertook in Against Interpretation with essays on film, literature, politics, and a groundbreaking study of pornography.
Summary: "Duet for cannibals: forms of cultural appropriation" is a publication based on a screening and discussion program bringing together a selection of works by contemporary artists and filmmakers as well as footage from the archive of the Tropenmuseum in Amsterdam. The title "Duet for cannibals" is borrowed from a 1969 film directed by American author and critic Susan Sontag. Anthropologic and ethnographic institutions in European colonial power centres, like the former Colonial Institute of Amsterdam (nowadays the Royal Tropical Institute), were founded to study and exhibit the cultures of 'overseas people'. Their role was to appropriate, classify, and display cultural artifacts and sometimes even human beings.
"In May of 1968, Susan Sontag visited Hanoi. The report of her trip is neither a political treatise nor a travelogue, but a sensitive observer's response to a world totally foreign to the Western mind. During her trip, Susan Sontag discovered her preconception of North Vietnam and it's people had little relevance to the actual situation. By reassessing her own point of view, Miss Sontag creates a startling picture of life in Hanoi"--Page 4 of cover
What happens when novelists write about their own lives directly, in memoirs and autobiographies, rather than in novels? How do they present themselves, and what do their self-portraits reveal? In a series of biographical case studies, Portraits from Life examines how seven canonical Modernist writers - Joseph Conrad, Ford Madox Ford, Henry James, Wyndham Lewis, Gertrude Stein, H.G. Wells, and Edith Wharton - depicted themselves in their memoirs and autobiographies during the first half of the twentieth century. Drawing on a range of life-writing sources in this innovative group portrait, Jerome Boyd Maunsell reconstructs the periods during which these authors worked on their memoirs, often towards the end of their lives, and shows how memoirs and autobiographies are just as artful as novels. The seven portraits in the book also create a rich network of encounters, as many of these writers knew each other, and wrote about each other in their reminiscences. Portraits from Life investigates the difficulties and possibilities of autobiography - the relation of fact and fiction, biography and autobiography; the ethical issues of dealing with real people; the thin generic lines between novels and autobiographies; and the deceptive workings of memory - and how all these writers dealt with these concerns as they looked back on their lives. An act of portraiture and biography as well as an act of criticism, moving from London to Paris and through two world wars, it also pieces together a fresh and constantly inter-connecting narrative of the Modernist era in England and France.
In eight stories, this singular collection of short fiction written over the course of ten years explores the terrain of modern urban life. In reflective, telegraphic prose, Susan Sontag confronts the reader with exposed workings of an impassioned intellect in narratives seamed with many of the themes of her essays—the nature of knowing, our relationship with the past, and the future in an alienated present.
A brilliant, clear-eyed consideration of the visual representation of violence in our culture--its ubiquity, meanings, and effects. Considered one of the greatest critics of her generation, Susan Sontag followed up her monumental On Photography with an extended study of human violence, reflecting on a question first posed by Virginia Woolf in Three Guineas: How in your opinion are we to prevent war? "For a long time some people believed that if the horror could be made vivid enough, most people would finally take in the outrageousness, the insanity of war." One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of photography) horrors taking place throughout the world. But are viewers inured—or incited—to violence by the depiction of cruelty? Is the viewer’s perception of reality eroded by the daily barrage of such images? What does it mean to care about the sufferings of others far away? First published more than twenty years after her now classic book On Photography, which changed how we understand the very condition of being modern, Regarding the Pain of Others challenges our thinking not only about the uses and means of images, but about how war itself is waged (and understood) in our time, the limits of sympathy, and the obligations of conscience.
A historical novel follows the efforts of a group of Poles, led by a famous actress, to build a utopian commune in California in the 1870s.
Alice in Bed is a free dramatic fantasy which merges the life of Alice James, the brilliant sister of William and Henry James, with the heroine of Lewis Carroll's Alice in Wonderland. It is a play about the anguish and grief and rage of women; and about the triumphs and limitations of the imagination.
A witty and stylish assessment of the work of two icons of cultural criticism: Susan Sontag and Pauline Kael. Though outwardly they had some things in common--they were both Westerners who came east, both schooled in philosophy, both secular Jews and both single mothers--they were polar opposites in temperament and approach. Seligman approaches both women through their widely discussed work. Kael practiced a kind of verbal jazz--exuberant, excessive, intimate, emotional and funny. Sontag is formal and rather icy. From the beginning it's clear where Seligman's sympathies lie: Sontag is a critic he reveres; but Kael is a critic he loves. But for all his reservations about Sontag, he considers both writers magnificent and his exploration of their differences results in this luminously written landmark of criticism.