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Two girls embark on a summer of montage-worthy dates (with a few strings attached) in this hilarious and heartfelt lesbian rom-com that’s perfect for fans of Becky Albertalli and Jenny Han. Seventeen-year-old cynic Saoirse Clarke isn’t looking for a relationship. But when she meets mischievous Ruby, that rule goes right out the window. Sort of. Because Ruby has a loophole in mind: a summer of all the best cliché movie montage dates, with a definite ending come fall—no broken hearts, no messy breakup. It would be the perfect plan, if they weren’t forgetting one thing about the Falling in Love Montage: when it’s over, the characters have fallen in love...for real. Ciara Smyth’s debut is a delightful, multilayered YA rom-com that will make you laugh, cry, and absolutely fall in love.
The disruptive power of montage has often been regarded as a threat to scholarly representations of the social world. This volume asserts the opposite: that the destabilization of commonsense perception is the very precondition for transcending social and cultural categories. The contributors—anthropologists, filmmakers, photographers, and curators—explore the use of montage as a heuristic tool for comparative analysis in anthropological writing, film, and exhibition making. Exploring phenomena such as human perception, memory, visuality, ritual, time, and globalization, they apply montage to restructure our basic understanding of social reality. Furthermore, as George E. Marcus suggests in the afterword, the power of montage that this volume exposes lies in its ability to open the very “combustion chamber” of social theory by juxtaposing one’s claims to knowledge with the path undertaken to arrive at those claims.
At the moment of going to press, a publication irreversibly reaches its final form. Simultaneously, it also reaches an audience. Naturally, this audience very often is oblivious to the many, and sometimes complex, steps towards the construction and montage of (visual) meaning that precedes the actual publication of a book. The contributors to 'Before Publication' consider such construction of meaning as montage and look at materials and processes involved before publication. Their focus is on concrete artistic and visual artifacts such as scrapbooks, book mock-ups, and press layouts by artists, authors, and graphic designers. In particular, they shed light on the relationship between the spheres of privacy and publicity. The new book features a programmatic introduction by the editors Nanni Baltzer and Martino Stierli and eight concisely illustrated topical essays.
Memoirs and interviews of the author, motion picture producer and director from West Bengal, India.
New York is the capital of mambo and a global factory of latinidad. This book covers the topic in all its multifaceted aspects, from Jim Crow baseball in the first half of the twentieth century to hip hop and ethno-racial politics, from Latinas and labor unions to advertising and Latino culture, from Cuban cuisine to the language of signs in New York City. Together the articles map out the main conceptions of Latino identity as well as the historical process of Latinization of New York. Mambo Montage is both a way of imagining latinidad and an angle of vision on the city.
Montage has been hailed as one of the key structural principles of modernity, yet its importance to the history of modern thought about cities and their architecture has never been adequately explored. In this groundbreaking new work, Martino Stierli charts the history of montage in late 19th-century urban and architectural contexts, its application by the early 20th-century avant-gardes, and its eventual appropriation in the postmodern period. With chapters focusing on photomontage, the film theories of Sergei Eisenstein, Mies van der Rohe's spatial experiments, and Rem Koolhaas's use of literary montage in his seminal manifesto Delirious New York (1978), Stierli demonstrates the centrality of montage in modern explorations of space, and in conceiving and representing the contemporary city. Beautifully illustrated, this interdisciplinary book looks at architecture, photography, film, literature, and visual culture, featuring works by artists and architects including Mies, Koolhaas, Paul Citroen, George Grosz, Hannah Höch, El Lissitzky, and Le Corbusier.
Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for today’s film editors, motion designers, and other media artists.
This book of essays is quite unique in that it intervenes in a still contested area within many universities, that of the relevance of film to literature, critical theory, politics, sociology and anthropology. The essays were commissioned by Jean Antoine-Dunne whose research has explored the impact of Eisenstein s aesthetics on different areas of modernist literature and drama. The essays in this collection use Eisenstein as a point of departure into divergent fields of analysis and are concerned with the principle of montage as a transforming idea. They gather within the pages of one work contributions from Geoffrey Nowell-Smith, Richard Taylor, Paul Willemen and emerging scholars entering and altering the field of interdisciplinary scholarship, film and literature. These hitherto unpublished essays not only extend and elaborate on previous treatments of Eisenstein and montage in areas such as semiotics, film theory, and feminist film practice, but also introduce his work to areas which have not yet been considered in relation to Eisenstein and montage, such as Beckett scholarship, Caribbean aesthetics, Third Cinema, and debates around digital imagery. No other collection of essays has explored the idea of montage as a structuring cultural and critical principle and the elasticity of Eisenstein's legacy in quite this way.
The companion book to the HBO film about the Nirvana singer and songwriter, “the most intimate rock doc ever” (Rolling Stone). Kurt Cobain, legendary lead singer, guitarist, and songwriter of Nirvana, “the flagship band of Generation X,” remains an object of reverence and fascination for music fans. For the first time, his story was told in the fully authorized feature documentary, Kurt Cobain: Montage of Heck, in 2015. Brett Morgen—the Oscar®-nominated filmmaker behind such acclaimed documentaries as the HBO presentation Crossfire Hurricane, which celebrated the fiftieth anniversary of the Rolling Stones, and The Kid Stays in the Picture—was writer, director, and producer of film. Visual artist Frances Bean Cobain, Cobain’s daughter, was executive producer. This riveting book accompanied Morgen’s documentary and delved further into the material created for the film, presenting an illuminating and honest portrait of the Nirvana frontman that captured the contradictions that made up his character. The book is composed of the extended versions of the exclusive interviews featured in the film. It also showcases the film’s incredible visuals with a mixture of animation stills, rare photography, and other treasures from Kurt Cobain’s personal archive. Director Brett Morgen offers his personal thoughts on the creation of the film and the need to shatter the mythos that surrounds Cobain. Taking fans into and beyond Morgen’s movie with unparalleled insight into the world of the late musician, this book is the perfect complement to a milestone documentary that forever changed the way fans view Kurt Cobain. “The film offers the bells and whistles but the book provides the real guts of the tale.” —Examiner
--Winner "Cross Genre" Category 2018 American Fiction Awards-- [Audiobook narrated by Grammy-winning Stefan Rudnicki and award-winning Gabrielle De Cuir.] Part wacky adventure, part political thriller, this unconventional story will keep you guessing. "One of the most original and creative stories I have read in a very long time." --Goodreads reader with over 1,500 ratings! James Wong built a billion-dollar software company with childhood friend Maria Cortez, but a shady investor stole their company. In a video game, James would defeat the villain with a power-up. Maria tells him there aren't power-ups in real life, but James finds the ultimate power-up watching TV in a bar: become president. Making important life decisions in a bar, what could go wrong? Could a non-politician change their name to None of the Above and get elected president? When James and Maria land their own reality TV show, they try to answer that question. They must uncover secrets about their company and themselves, as the world falls apart around them. It will take every ounce of Maria's strength and every crazy idea James can muster to get their company back. Can they survive the chaos of reality TV, the corruption of Washington, and the dark forces aligned against them? Background: When I began writing the book in 2014, I was afraid that many of my ridiculous subplots, like a presidential candidate with his own reality TV show, were too hard to believe. Then Trump ran for president, and the book became more plausible by the day. When events similar to my book began to happen during the 2016 election cycle, it got so weird that I stopped reading the news. When I went back later to research the "Fact Versus Fiction" section after the ending, I found even more events similar to the book had happened. What readers are saying: "prepare for rib-cracking laughter." (Online Book Club reader) "A thriller in every meaning of the word. If you enjoy action books at all, or if you just want some form of fictional closure on the baffling mess that was the 2016 election, I cannot recommend this book highly enough." -- Official Review, Online Book Club (4 out of 4 stars rating) "The story keeps you guessing and in the third act the intrigue and politics give way to a conclusion full of heart-pounding action." "There's a surprise around every corner--be prepared to laugh, cry and for your heart to race." "Thrilling pacing and breakthrough concepts leaves the reader seared in thought." "Amazingly captures the new political landscape that is forming day-by-day. Fans of political thrillers, conspiracy theories, or those looking for a satirical escape from the dreary news that we see every day will certainly enjoy The Internet President: None of the Above" -- Official Review, Thriller Magazine (5 out of 5 stars rating and a finalist for International Thriller Award)