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This book observes images of Montenegro in Anglo-American creative writing and films from the late eighteenth century until 2016. Like the Balkans as a whole, Montenegro usually reappeared in the West’s consciousness with the outbreak of wars, but remained marginalized on the larger Balkan map because of its peripheral political influence and, therefore, remained little known. In the past, Montenegro was experienced as almost unapproachable, barren, and wild. Its people, like their mountains, were seen as massive and fierce, while their primitivism equally delighted and repulsed visitors. Even today, when one searches the Internet for “Montenegro,” one finds titles mostly containing modifiers circling around “undiscovered,” “magical,” and “mysterious.” The book follows these vignettes chronologically to point out how the rhetoric they share dangerously builds a caricature of the country. However, they also provide a very lively mosaic of landscapes, history, people, their costumes, houses, and everyday life, which are sometimes distorted. No one can claim that these descriptions were not influenced by the ideologies the travellers inherited at home and were not filtered through their own cultural grids, but, significantly, they evoke places that are now forever lost – destroyed in wars, by earthquakes, faulty development planning, or, simply, by time.
All too often Albania has been considered a relatively minor player in late-19th and early-20th century history. By contrast, this book highlights the significance of this nation and the Albanian question at this time through a detailed analysis of the relationship between Albania, Britain and the Ottoman Empire from 1876 to 1914. Making use of a wide range of archival source materials – some of which are published here in English for the first time – this book explores British foreign policy towards the development of the Albanian national movement and parallel demise of the Ottoman Empire. In doing so it illuminates the objectives of the British government, as well as shining a spotlight on the public opinion of both the British people towards Albanian nationalism and on the reaction of the Albanians towards the British diplomatic position. By looking through such a unique lens, here Daut Dauti is able to provide fresh insight into why the Albanians were not supported by the Great Powers in their national quest in the way that other Balkan countries were and draws significant new conclusions on British, Balkan and Ottoman relations. As such, this nuanced study is vital reading for all scholars interested in modern Albanian history, turn-of-the-century British international relations and the fall of the Ottoman Empire more broadly.
Imaging and Mapping Eastern Europe puts images centre stage and argues for the agency of the visual in the construction of Europe’s east as a socio-political and cultural entity. This book probes into the discontinuous processes of mapping the eastern European space and imaging the eastern European body. Beginning from the Renaissance maps of Sarmatia Europea, it moves onto the images of women in ethnic dress on the pages of travellers’ reports from the Balkans, to cartoons of children bullied by dictators in the satirical press, to Cold War cartography, and it ends with photos of protesting crowds on contemporary dust jackets. Studying the eastern European ‘iconosphere’ leads to the engagement with issues central for image studies and visual culture: word and image relationship, overlaps between the codes of othering and self-fashioning, as well as interaction between the diverse modes of production specific to cartography, travel illustrations, caricature, and book cover design. This book will be of interest to scholars in art history, visual culture, and central Asian, Russian and Eastern European studies.
This book is a product of the XI International Conference on English Language and Literary Studies held in Montenegro in 2014. The “old spaces” were taken as a metaphorical tool for reintroducing a wide range of established topics with new approaches. Space was, thus, understood as physical, mechanical, continuous, linear, as measurable and symbolic, as subjective and relational, and as aesthetic. It was found on maps, in architecture, on theatre stages, in books, in hearts, in one’s identity, in time, and in theses and theories from the Aristotelian topos to Einstein’s construct of space-time. Therefore, the means of travel to these spaces and the forms the journeys take are also multifarious. However, so are the discursive strategies and their limitations when it comes to presenting the journeys and their destinations. The contributors to this volume represent a range of nationalities, and present research that either follows in the footsteps of other authors, in a literal or secondary literary journey to real geographical places, or observes the universal literary and old theoretical issues through new critical lenses. Indeed, they are often on both roads, witnessing how inextricable human efforts are to finding, identifying, and aestheticising oneself in relation to a particular space. Their contributions to this book expose how “spaces” were created and recreated through writing and symbolical representations in general. They also show how the images of these spaces have been changing in consent to the intentions of their visitors, and reveal that persistent and obstinate moment in a space that despite, or in spite of, changing perspectives, itself refuses to be changed. The book will encourage for further contributions to this expanding field in the humanities. In their numerous and distinct ways, the contributions to this particular book maintain that understanding how spaces are conceived and conceptualised is of pronounced importance in the globalized world in which cultures are gradually losing authenticities, while their spaces – geographical, tourist, spiritual, literary, aesthetic – are as reflective of the “visitors” as they are of the “hosts.”
Sound for Moving Pictures presents a new and original sound design theory called the Four Sound Areas framework, offering a conceptual template for constructing, deconstructing and communicating all types of motion picture soundtracks; and a way for academics and practitioners to better understand and utilize the deeper, emotive capabilities available to all filmmakers through the thoughtful use of sound design. The Four Sound Areas framework presents a novel approach to sound design that enables the reader to more fully appreciate audience emotions and audience engagement, and provides a flexible, practical model that will allow professionals to more easily create and communicate soundtracks with greater emotional significance and meaning. Of obvious benefit to sound specialists, as well as motion picture professionals such as film producers, directors and picture editors, Sound for Moving Pictures also provides valuable insight for others interested in the subject; such as those involved with teaching soundtrack analysis, or those researching the wider topics of film studies and screen writing.
“Brackett’s diaries read like a funnier, better-paced version of Barton Fink.” —Newsweek Screenwriter Charles Brackett is best remembered as the writing partner of director Billy Wilder, who once referred to the pair as “the happiest couple in Hollywood,” collaborating on such classics as The Lost Weekend and Sunset Boulevard. He was also a perceptive chronicler of the entertainment industry, and in this annotated collection of writings from dozens of Brackett’s unpublished diaries, film historian Anthony Slide clarifies Brackett's critical contribution to Wilder’s films and enriches our knowledge of Wilder’s achievements in writing, direction, and style. Brackett’s diaries re-create the initial meetings of the talent responsible for Ninotchka, Hold Back the Dawn, Ball of Fire, The Major and the Minor, Five Graves to Cairo, The Lost Weekend, and Sunset Boulevard, recounting the breakthroughs and the breakdowns that ultimately forced these collaborators to part ways. In addition to a portrait of Wilder, this is rare view of a producer who was a president of the Academy of Motion Picture Arts and Sciences and the Screen Writers Guild, a New Yorker drama critic, and a member of the Algonquin Round Table. With insight into the dealings of Paramount, Universal, MGM, and RKO, and legendary figures such as Alfred Lunt, Lynn Fontanne, Edna Ferber, and Dorothy Parker, this book reveals the political and creative intrigue at the heart of Hollywood’s most significant films. “A fascinating look at Hollywood in its classic period, and a unique and indispensable must-have for any movie buff.” —Chicago Tribune “This feels as close as we can get to being in the presence of Wilder’s genius, and he emerges as the cruelest as well as the wittiest of men.” —The Guardian “Not only rare insight into their often-stormy partnership but also an insider’s view of Hollywood during that era.” —Los Angeles Times “Very entertaining.” —Library Journal
A filmography of South American motion pictures
An introduction to feminist film theory as a discourse from the early seventies to the present. McCabe traces the broad ranging theories produced by feminist film scholarship, from formalist readings and psychoanalytical approaches to debates initiated by cultural studies, race and queer theory.
Can techniques traditionally thought to be outside the scope of literature, including word processing, databasing, identity ciphering, and intensive programming, inspire the reinvention of writing? The Internet and the digital environment present writers with new challenges and opportunities to reconceive creativity, authorship, and their relationship to language. Confronted with an unprecedented amount of texts and language, writers have the opportunity to move beyond the creation of new texts and manage, parse, appropriate, and reconstruct those that already exist. In addition to explaining his concept of uncreative writing, which is also the name of his popular course at the University of Pennsylvania, Goldsmith reads the work of writers who have taken up this challenge. Examining a wide range of texts and techniques, including the use of Google searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins this recent work to practices that date back to the early twentieth century. Writers and artists such as Walter Benjamin, Gertrude Stein, James Joyce, and Andy Warhol embodied an ethos in which the construction or conception of a text was just as important as the resultant text itself. By extending this tradition into the digital realm, uncreative writing offers new ways of thinking about identity and the making of meaning.