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World Cinema and the Ethics of Realism is a highly original study. Traditional views of cinematic realism usually draw on the so-called classical cinema and its allegiance to narrative mimesis, but Nagib challenges this, drawing instead on the filmmaker's commitment to truth and to the film medium's material bond with the real. Starting from the premise that world cinema's creative peaks are governed by an ethics of realism, Nagib conducts comparative case studies picked from world new waves, such as the Japanese New Wave, the French nouvelle vague, the Cinema Novo, the New German Cinema, the Russo-Cuban Revolutionary Cinema, the Portuguese self-performing auteur and the Inuit Indigenous Cinema. Drawing upon Badiou and Rancière, World Cinema and the Ethics of Realism revisits and reformulates several fundamental concepts in film studies, such as illusionism, identification, apparatus, alienation effects, presentation and representation. Its groundbreaking scholarship takes film theory in a bold new direction.
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 Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization”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.
Tender is the Night is a story set in the hedonistic high society of Europe during the 'Roaring Twenties'. A wealthy schizophrenic, Nicole Warren, falls in love with Dick Diver - her psychiatrist. The resulting saga of the Divers' troubled marriage, and their circle of friends, includes a cast of aristocratic and beautiful people, unhappy love affairs, a duel, incest, and the problems inherent in the possession of great wealth. Despite cataloging a maelstrom of interpersonal conflict, Tender is the Night has a poignancy and warmth that springs from the quality of Fitzgerald's writing and the tragic personal experiences on which the novel is based.
A woman encounters a life filled with desires and emotions when she returns to Paris after suffering from a bout of depression and alcoholism in London.
“Fans of The Sound of Music will find plenty to please them in [this] history of the sweeping musical.” —Kirkus Reviews On March 2, 1965, The Sound of Music was released in the United States and the love affair between moviegoers and the classic Rodgers and Hammerstein musical began. Rarely has a film captured the love and imagination of the moviegoing public the way The Sound of Music did as it blended history, music, stunning Austrian locations, heartfelt emotion—and the yodeling of Julie Andrews—into a monster hit. Now, Tom Santopietro has written the ultimate book for fans with behind the scenes stories of the filming, new interviews with Johannes von Trapp and others, photographs, and more. He looks back at the real life story of Maria von Trapp, goes on to chronicle the sensational success of the Broadway musical, and recounts the near cancellation of the film when Cleopatra bankrupted 20th Century Fox. He reveals the actors who were also considered for the roles of Maria and Captain von Trapp, and provides a historian’s critical analysis of the careers of director Robert Wise and screenwriter Ernest Lehman. He also takes a look at the critical controversy that greeted the movie, its relationship to the turbulent 1960s, and the superstardom that engulfed Julie Andrews. The Sound of Music Story is for everyone who cherishes this American classic.
Black Skin, White Masks is a classic, devastating account of the dehumanising effects of colonisation experienced by black subjects living in a white world. First published in English in 1967, this book provides an unsurpassed study of the psychology of racism using scientific analysis and poetic grace.Franz Fanon identifies a devastating pathology at the heart of Western culture, a denial of difference, that persists to this day. A major influence on civil rights, anti-colonial, and black consciousness movements around the world, his writings speak to all who continue the struggle for political and cultural liberation.With an introduction by Paul Gilroy, author of There Ain't No Black in the Union Jack.
The work of German cultural theorist and art historian Aby Warburg (1866–1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg’s death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity’s afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought. While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg’s published and unpublished writings and by attending to Warburg’s cardinal idea that "pathos formulas" structure the West’s cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg’s lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.
Although southern Poland and western Ukraine are not often thought of in terms of decisive battles in World War I, the impulses that precipitated the battle for Galicia in August 1914—and the unprecedented carnage that resulted—effectively doomed the Austro-Hungarian Empire just six weeks into the war. In Fall of the Double Eagle, John R. Schindler explains how Austria-Hungary, despite military weakness and the foreseeable ill consequences, consciously chose war in that fateful summer of 1914. Through close examination of the Austro-Hungarian military, especially its elite general staff, Schindler shows how even a war that Vienna would likely lose appeared preferable to the “foul peace” the senior generals loathed. After Serbia outgunned the polyglot empire in a humiliating defeat, and the offensive into Russian Poland ended in the massacre of more than four hundred thousand Austro-Hungarians in just three weeks, the empire never recovered. While Austria-Hungary’s ultimate defeat and dissolution were postponed until the autumn of 1918, the late summer of 1914 on the plains and hills of Galicia sealed its fate.
Dhirubhai Ambani's life is a rags-to-riches story, from Bombay's crowded pavements and bazaars to the city's extravagantly wealthy social circles where business tycoons, stockmarket speculators, smugglers, politicians and Hindi film stars mingle, make money, make and break marriages and carry out prolonged feuds. This is the story of a rising capitalist group in post-independence India. Until the arrival of Ambani, and now more like him, India's big business scene was dominated by a few industrial houses from British times. Ambani's Reliance group has risen to rival these houses in just 26 years since its foundation. By 1995, the group had 2.6 million investors, one in every eight Indian sharemarket investors, and is now so large that it has to hold its annual general meetings in football stadiums. Along with expansion, however, have come the intricate political connections, a whole raft of corruption charges and a rollercoaster of booms and crashes for Ambani and his company. This study shows how capitalism emerges by fair means and foul in the new industrial countries of the Third World and explores the life of an Asian tycoon.