Download Free Recueil Factice Darticles De Presse Sur Le Rapport Theatre Cinema 1932 Book in PDF and EPUB Free Download. You can read online Recueil Factice Darticles De Presse Sur Le Rapport Theatre Cinema 1932 and write the review.

Examines the way in which Sophocles' play "Oedipus Tyrannus" and its hero, Oedipus, King of Thebes, were probably received in their own time and place, and relates this to twentieth-century receptions and interpretations, including those of Sigmund Freud.
The Habsburg courtier Charles-Joseph Prince de Ligne seduced and symbolized eighteenth-century Europe. Speaking French, the international language of the day, he travelled between Paris and St Petersburg, charming everyone he met. He stayed with Madame du Barry, dined with Frederick the Great and travelled to the Crimea with Catherine the Great. But Ligne was more than a frivolous charmer. He participated in and recorded some of the most important events and movements of his day: the Enlightenment; the struggle for mastery in Germany; the decline of the Ottoman Empire; the birth of German nationalism; and the wars to liberate Europe from Napoleon. He had surprisingly radical views, believing for example in property rights for women, legal rights for Jews and the redistribution of wealth. He was also a highly respected writer and his books on gardens, his letters from the Crimea and his epigrams are considered minor classics of French literature.
Taking an interdisciplinary approach, this volume brings together contributions by distinguished experts from different disciplinary fields for a multidimensional view on immersion in the visual arts and media. In the current media debate, immersion has frequently been linked to the advent of digital technology and its capacity to provide vivid sensations of being placed in or surrounded by an artificial space. The idea of ‘liquidity’ contained in this promise to plunge into another world informs wide areas of contemporary cultural imagination, referring to a myriad of phenomena that relate to experiences of uncertainty and instability, of complexity and change. Considering the fact, however, that the idea of ‘liquid’ spaces appeared long before the digital creation of augmented or virtual environments, the contributors to this volume trace its reemerging throughout the history of the visual arts and media. By focusing on selected works of painting and architecture, photography and cinema, video installation and media art, they explore the variability of immersive experiences according to the different media environments and interfaces that constitute the actual sites of historically shifting relations between media and users. Contributors are: Matthias Bauer, Jörg von Brincken, Robin Curtis, Burcu Dogramaci, Thomas Elsaesser, Ole W. Fischer, Gundolf S. Freyermuth, Ursula Frohne, Henry Keazor, Matthias Krüger, Katja Kwastek, Fabienne Liptay, Karl Prümm, Martin Warnke.
A truly international, authoritative A–Z guide to five centuries of propaganda, in both wartime and peacetime, which covers key moments, techniques, concepts, and some of the most influential propagandists in history. This fascinating survey provides a comprehensive introduction to propaganda, its changing nature, its practitioners, and its impact on the past five centuries of world history. Written by leading experts, it covers the masters of the art from Joseph Goebbels to Mohandas Gandhi and examines enormously influential works of persuasion such as Uncle Tom's Cabin, techniques such as films and posters, and key concepts like black propaganda and brainwashing. Case studies reveal the role of mass persuasion during the Reformation, and wars throughout history. Regional studies cover propaganda superpowers, such as Russia, China, and the United States, as well as little-known propaganda campaigns in Southeast Asia, Ireland, and Scandinavia. The book traces the evolution of propaganda from the era of printed handbills to computer fakery, and profiles such brilliant practitioners of the art as Third Reich film director Leni Riefenstahl and 19th-century cartoonist Thomas Nast, whose works helped to bring the notorious Boss Tweed to justice.
Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafés-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues, on the contrary, that Satie's two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie's professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie's output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.
What is it to see the world, other people, and imagined situations as making personal moral demands of us? What is it to experience stories as speaking to us personally and directly? Kierkegaard's Mirrors explores Kierkegaard's answers to these questions, with a new phenomenological interpretation of Kierkegaardian 'interest'.
Two of the key theoretical shifts over the past two decades of critical work have been the 'visual turn' and the 'material turn'. This book argues that these hitherto distinct fields should be understood as in continual dialogue and co-constitution and focuses on reconceptualising the visual as an embodied, material, and often politically-charged realm. This edited volume elaborates this conceptual argument through a series of contemporary case studies, drawn from the disciplines of Architecture, Sociology, Media Studies, Geography and Cultural Studies. The case studies included are paired around four themes: consumption, translation, practice and ethics. As well as exploring the bringing together of visuality and materiality studies, the contributors raise questions of social identity and social critique, and also focus on the ethics of material visualities.
DIVThe different forms that travelogues have taken (documentaries, IMAX, home movies, ethnographic films) from the 1800s to the present./div
From the architectural spectacle of the medieval cathedral and the romantic sublime of the nineteenth-century panorama to the techno-fetishism of today's London Science Museum, humans have gained a deeper understanding of the natural world through highly illusionistic representations that engender new modes of seeing, listening, and thinking. What unites and defines many of these wondrous spaces is an immersive view-an invitation to step inside the virtual world of the image and become a part of its universe, if only for a short time. Since their inception, museums of science and natural history have mixed education and entertainment, often to incredible, eye-opening effect. Immersive spaces of visual display and modes of exhibition send "shivers" down our spines, engaging the distinct cognitive and embodied mapping skills we bring to spectacular architecture and illusionistic media. They also force us to reconsider traditional models of film spectatorship in the context of a mobile and interactive spectator. Through a series of detailed historical case studies, Alison Griffiths masterfully explores the uncanny and unforgettable visceral power of the medieval cathedral, the panorama, the planetarium, the IMAX theater, and the science museum. Examining these structures as exemplary spaces of immersion and interactivity, Griffiths reveals the sometimes surprising antecedents of modern media forms, suggesting the spectator's deep-seated desire to become immersed in a virtual world. Shivers Down Your Spine demonstrates how immersive and interactive museum display techniques such as large video displays, reconstructed environments, and touch-screen computer interactives have redefined the museum space, fueling the opposition between public and private, science and spectacle, civic and corporate interests, voice and text, and life and death. In her remarkable study of sensual spaces, Griffiths explains why, for centuries, we keep coming back for more.
Building upon Husserl’s challenge to oppositions such as those between form and content and between constituting and constituted, The Concept of Passivity in Husserl’s Phenomenology construes activity and passivity not as reciprocally exclusive terms but as mutually dependent moments of acts of consciousness. The book outlines the contribution of passivity to the constitution of phenomena as diverse as temporal syntheses, perceptual associations, memory fulfillment and cross-cultural communication. The detailed study of the phenomena of affection, forgetting, habitus and translation sets out a distinction between three meanings of passivity: receptivity, sedimentation or inactuality and alienation. Husserl’s texts are interpreted as defending the idea that cultural crises are not brought to a close by replacing passivity with activity but by having more of both.