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From IKEA assembly guides and “hands and pans” cooking videos on social media to Mister Rogers's classic factory tours, representations of the step-by-step fabrication of objects and food are ubiquitous in popular media. In The Process Genre Salomé Aguilera Skvirsky introduces and theorizes the process genre—a heretofore unacknowledged and untheorized transmedial genre characterized by its representation of chronologically ordered steps in which some form of labor results in a finished product. Originating in the fifteenth century with machine drawings, and now including everything from cookbooks to instructional videos and art cinema, the process genre achieves its most powerful affective and ideological results in film. By visualizing technique and absorbing viewers into the actions of social actors and machines, industrial, educational, ethnographic, and other process films stake out diverse ideological positions on the meaning of labor and on a society's level of technological development. In systematically theorizing a genre familiar to anyone with access to a screen, Skvirsky opens up new possibilities for film theory.
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Society of School Librarians International Book Award Honor California Reading Association Eureka! Nonfiction Honor Bank Street College Best Children's Book of the Year Booklist Top Ten Biography for Youth Young fans of the smash Broadway hit "Hamilton" will enjoy this narrative nonfiction picture book story about the important friendship between George Washington and the Marquis de Lafayette during the Revolutionary War. Lafayette has come to America to offer his services to the patriotic cause. Inexperienced but dedicated, he is a much-needed ally and not only earns a military position with the Continental Army but also Washington's respect and admiration. This picture book presents the human side of history, revealing the bond between two famous Revolutionary figures. Both the author and illustrator worked with experts and primary sources to represent both patriots and the war accurately and fairly.
Choreographies of the Living explores the implications of shifting from viewing art as an exclusively human undertaking to recognizing it as an activity that all living creatures enact. Carrie Rohman reveals the aesthetic impulse itself to be profoundly trans-species, and in doing so she revises our received wisdom about the value and functions of artistic capacities. Countering the long history of aesthetic theory in the West--beginning with Plato and Aristotle, and moving up through the recent claims of "neuroaesthetics"--Rohman challenges the likening of aesthetic experience to an exclusively human form of judgment. Turning toward the animal in new frameworks for understanding aesthetic impulses, Rohman emphasizes a deep coincidence of humans' and animals' elaborations of fundamental life forces. Examining a range of literary, visual, dance, and performance works and processes by modernist and contemporary figures such as Isadora Duncan, D. H. Lawrence, Virginia Woolf, and Merce Cunningham, Rohman reconceives the aesthetic itself not as a distinction separating humans from other animals, but rather as a framework connecting embodied beings. Her view challenges our species to acknowledge the shared status of art-making, one of our most hallowed and formerly exceptional activities.
Reprint of the original, first published in 1876.
Comedy. An actor preparing to play Hamlet is haunted by the ghost of John Barrymore. 2 acts, 3 scenes, 3 man, 3 women, 1 interior.
From the bestselling author of Assassination Vacation and The Partly Cloudy Patriot, an insightful and unconventional account of George Washington’s trusted officer and friend, that swashbuckling teenage French aristocrat the Marquis de Lafayette. Chronicling General Lafayette’s years in Washington’s army, Vowell reflects on the ideals of the American Revolution versus the reality of the Revolutionary War. Riding shotgun with Lafayette, Vowell swerves from the high-minded debates of Independence Hall to the frozen wasteland of Valley Forge, from bloody battlefields to the Palace of Versailles, bumping into John Adams, Thomas Jefferson, Lord Cornwallis, Benjamin Franklin, Marie Antoinette and various kings, Quakers and redcoats along the way. Drawn to the patriots’ war out of a lust for glory, Enlightenment ideas and the traditional French hatred for the British, young Lafayette crossed the Atlantic expecting to join forces with an undivided people, encountering instead fault lines between the Continental Congress and the Continental Army, rebel and loyalist inhabitants, and a conspiracy to fire George Washington, the one man holding together the rickety, seemingly doomed patriot cause. While Vowell’s yarn is full of the bickering and infighting that marks the American past—and present—her telling of the Revolution is just as much a story of friendship: between Washington and Lafayette, between the Americans and their French allies and, most of all between Lafayette and the American people. Coinciding with one of the most contentious presidential elections in American history, Vowell lingers over the elderly Lafayette’s sentimental return tour of America in 1824, when three fourths of the population of New York City turned out to welcome him ashore. As a Frenchman and the last surviving general of the Continental Army, Lafayette belonged to neither North nor South, to no political party or faction. He was a walking, talking reminder of the sacrifices and bravery of the revolutionary generation and what the founders hoped this country could be. His return was not just a reunion with his beloved Americans it was a reunion for Americans with their own astonishing, singular past. Vowell’s narrative look at our somewhat united states is humorous, irreverent and wholly original.