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Conjuring Science explores the history of magic shows and scientific entertainment. It follows the frictions and connections of magic and science as they occurred in the world of popular entertainment in France from the mid-eighteenth to the early twentieth century. It situates conjurers within the broader culture of science and argues that stage magic formed an important popular conduit for science and scientific enthusiasm during this period. From the scientific recreations of the fairs to the grand illusions of the theatre stage and the development of early cinema, conjurers used and were inspired by scientific and technological innovations to create illusions, provoke a sense of wonder, and often even instruct their audience. In their hands, science took on many meanings and served different purposes: it was a set of pleasant facts and recreational demonstrations upon which to draw; it was the knowledge presented in various scientific lectures accompanied by optical projections at magic shows; it was the techniques necessary to create illusions and effects on stage and later on at the cinema; and it was a way to separate conjuring from the deceit of mediums, mystical showmen and quacks in order to gain a better standing within an increasingly scientifically-minded society.
With the success of Martin Scorsese’s Hugo (2011) and Michel Hazanavicius’s The Artist (2011) nothing seems more contemporary in recent film than the styles, forms, and histories of early and silent cinemas. This collection considers the latest return to silent film alongside the larger historical field of visual repetitions and affective currents that wind their way through 20th and 21st century visual cultures. Contributors bring together several fields of research, including early and silent cinema studies, experimental and new media, historiography and archive theory, and studies of media ontology and epistemology. Chapters link the methods, concerns, and concepts of early and silent film studies as they have flourished over the last quarter century to the most recent developments in digital culture—from YouTube to 3D—recasting this contemporary phenomenon in popular culture and new media against key debates and concepts in silent film scholarship. An interview with acclaimed Canadian filmmaker Guy Maddin closes out the collection.
From the proto-cinematic sequencing of animal motion in the nineteenth century to the ubiquity of animal videos online, the histories of animal life and the moving image are enigmatically interlocked. Animal Life and the Moving Image is the first collection of essays to offer a sustained focus on the relations between screen cultures and non-human animals. The volume brings together some of the most important and influential writers working on the non-human animal's significance for cultures and theories of the moving image. It offers innovative analyses of the representation of animals across a wide range of documentary, fiction, mainstream and avant-garde practices, from early cinema to contemporary user-generated media. Individual chapters consider King Kong, The Birds, The Misfits, The Cove, Grizzly Man and Microcosmos, the work of Sergei Eisenstein, Robert Bresson, Malcolm Le Grice, Peter Greenaway, Carolee Schneemann and Isabella Rossellini, and YouTube stars Christian the lion and Maru the cat.
One of the biggest stumbling blocks we hit when setting out to make our dreams come true is appreciating what is going well. Most of us have an unfortunate tendency to dwell on the problems rather than on the good things in our lives ... and then we wonder why things just seem to keep getting worse instead of better. In The Power of Appreciation in Everyday Life, psychologist Noelle Nelson explains how you can achieve success in every area of your life through transforming your beliefs with appreciation.
In this first major study of French colonial and postcolonial cinema, Dina Sherzer compiles essays by some of the foremost scholars on the subject who interrogate and analyze the realities behind the images of the nation’s past and present. Through an examination of France and its colonies, multiethnic contemporary France, and cinematic discourses which have been and are being produced about France’s colonial past, these authors explore how the images relay underlying assumptions and their relation to historical and political facts. A variety of subjects and viewpoints inform these studies, which cover the entire range of films on that topic. The authors expound upon the role French and Francophone films are currently playing in reconstructing and imagining France’s colonial past. Not only do the essays examine how French cinema has represented the encounter of French citizens with individuals from former colonies during the colonial era; they examine how French cinema has portrayed and has come to terms with the cohabitation of former colonial subjects with the French in France. In addition, the book features another postcolonial facet by analyzing films of directors from the former colonies who give their own representation of colonialism and presentation of their culture. This study is a major contribution to postcolonial research. Race, gender, and geography are central themes throughout this book that presents innovative material that contributes to the history of French cinema and emphasizes how cinema participates in and is a part of national culture.
What concepts must one have in order to understand and explain the nature and purpose, the plan and actualization, and the relational character of the liturgy? Volume 2: Fundamental Liturgy addresses this question in three parts - epistemology, celebration, and human sciences - which develop the foundational concepts of the liturgy. It leads the reader to a deeper understanding of the liturgy by examining the basic concepts that belong to its definition. Articles and their contributors are Theology of the Liturgy," by Alceste Catella;"Liturgical Symbolism," by Crispino Valenziano; "Liturgy and Spirituality," by Jesus Castellano Cervera, OCD; "Pastoral Liturgical Ministry," by Domenico Sartore, CSJ; "Catechesis and Liturgy," by Domenico Sartore, CSJ; "Liturgy and Ecclesiology," by Nathan Mitchell; "The Liturgical Assembly," by Mark Francis, CSV; "Participation in the Liturgy," by Anna Kai-Yung Chan; "Liturgical Ministries," by Thomas A. Krosnicki, SVD; "The Psychosociological Aspect of the Liturgy," by Lucio Maria Pinkus, OSM; "Liturgy and Anthropology: The Meaning and the Method of the Question," by Crispino Valenziano; "The Language of Liturgy," by Silvano Maggiani, OSM; "Liturgy and Aesthetic," by Silvano Maggiani, OSM; "Liturgy and Music," by Jan Michael Joncas; "Liturgy and Iconology," by Crispino Valenziano; and "Liturgy and Inculturation," by Anscar J. Chupungco, OSB and Silvano Maggiani, OSM "
Provides a framework of categories for the construction of notional syllabuses and justification for a notional syllabus. Also explores the role of a notional syllabus in various types of language learning situations.
Reassessing the unique qualities of Renoir's influential visual style by interpreting his films through Gilles Deleuze's film philosophy, and through previously unpublished production files, Barry Nevin provides a fresh and accessible interdisciplinary perspective that illuminates both the consistency and diversity of Renoir's oeuvre.