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VOLUME 2: "Movies and Methods," Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context and suggest its linkages with other essays in the volume. A great variety of approaches and methods characterize film writing today, and the final part conveys their diversity--from statistical style analysis to phenomenology and from gay criticisms to neoformalism. This concluding part also shows how the rigorous use of a broad range of approaches has helped remove post-structuralist criticism from its position of dominance through most of the seventies and early eighties. -- Publisher description.
The neglected tradition: towards a new history of South African Art (1930-1988), is one that takes on an historic importance in re-evaluating South African art by tracing the development and influence of black South African artists, and for the first time documenting this development and influence through an exhibition and researched catalogue. The compilation of this information provides students, researchers, and the public with a new perspective for the evaluation of art in this country.
Thirteen previously published essays, notes, and interviews, by Olu Oguibe, with revisions, with an additional list of where the contributions were originally published and a cumulative index for this anthology as a whole.
"The evangelical Lutheran Art and Craft Centre at Rorke's Drift, as one of the very few places that offered training to black artists during the years of aparthied, played a key role in South African art, not only for those who studied there, but the many others whom they trained or influenced in turn." "Drawing on a wide range of interviews with participants in the Rorke's Drift project, not only from South Africa, but also from Sweden, the Netherlands, Britain and the USA, this book sets out to write the story of the beginnings of the Centre in the 1960s, the founding and development of the Fine Art School in 1968, and the contribution of teachers and students until its closure in 1982." --book jacket.
A detailed look at how South Africa's museum present the nation's past, and how they can serve as a lens for examining changes in South African society at large.
Artists, writers, and filmmakers from Andy Warhol and J. G. Ballard to Alejandro González Iñárritu and Ousmane Sembène have repeatedly used representations of immobilized and crashed cars to wrestle with the conundrums of modernity. In Crash, Karen Beckman argues that representations of the crash parallel the encounter of film with other media, and that these collisions between media offer useful ways to think about alterity, politics, and desire. Examining the significance of automobile collisions in film genres including the “cinema of attractions,” slapstick comedies, and industrial-safety movies, Beckman reveals how the car crash gives visual form to fantasies and anxieties regarding speed and stasis, risk and safety, immunity and contamination, and impermeability and penetration. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film’s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema’s technology binds it to capitalism’s industrial systems and other media, technologies, and disciplines.
This collection contains writings on Irish politics, literature, drama, and visual arts, along with a series of dialogues with important cultural and intellectual figures. Previously unpublished pieces include essays on Joyce and on the Irish Hunger Memorial in New York City and a dialogue with Georges Dumézil on myth.
In a world of globalised media, Japanese popular culture has become a signifi cant fountainhead for images, narrative, artefacts, and identity. From Pikachu, to instantly identifi able manga memes, to the darkness of adult anime, and the hyper- consumerism of product tie- ins, Japan has bequeathed to a globalised world a rich variety of ways to imagine, communicate, and interrogate tradition and change, the self, and the technological future. Within these foci, questions of law have often not been far from the surface: the crime and justice of Astro Boy; the property and contract of Pokémon; the ecological justice of Nausicaä; Shinto’s focus on order and balance; and the anxieties of origins in J- horror. This volume brings together a range of global scholars to refl ect on and critically engage with the place of law and justice in Japan’s popular cultural legacy. It explores not only the global impact of this legacy, but what the images, games, narratives, and artefacts that comprise it reveal about law, humanity, justice, and authority in the twenty-first century.
Ramism was the most controversial pedagogical movement to sweep through the Protestant world in the latter sixteenth century. This book, the first contextualized study of this rich tradition, has wide-ranging implications for the intellectual, cultural, and social histories not only of the Holy Roman Empire but also of the entire Protestant world in the crucial decades immediately preceding the advent of the "new philosophy" in the mid-seventeenth century.