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In this pocket-sized book on the history of Lettrist Cinema, French historian and theorist Nicole Brenez elucidates the formal innovations of this unique art form that prefigured breakthroughs in film including the nouvelle vague and the experiments of expanded cinema in the United States. Key figures and basic concepts such as the use of jarring dissonant and disassociated soundtracks, scratched and bleached celluloid and the place of Lettrist Cinema in avant-garde history are discussed and illustrated with black-and-white stills. Founded by Romanian-born French poet, film critic and artist Isidore Isou in Paris immediately after World War II, the Lettrist movement took its inspiration from Dada and Surrealism. The movement remains active to this day, having lost none of the aesthetic or ethical radicalism seeded by Isou in 1951 with his revolutionary film Venom and Eternity, which became the movement's visual manifesto, influencing such avant-garde filmmakers as Stan Brakage.
Absence has played a crucial role in the history of avant-garde aesthetics, from the blank canvases of Robert Rauschenberg to Yves Klein’s invisible paintings, from the “silent” music of John Cage to Samuel Beckett’s minimalist theater. Yet little attention has been given to the important role of absence in cinema. In the first book to focus on cinematic absence, Justin Remes demonstrates how omissions of expected elements can spur viewers to interpret and understand the nature of film in new ways. While most film criticism focuses on what is present, such as images on the screen and music and dialogue on the soundtrack, Remes contends that what is missing is an essential part of the cinematic experience. He examines films without images—such as Walter Ruttmann’s Weekend (1930), a montage of sounds recorded in Berlin—and films without sound—such as Stan Brakhage’s Window Water Baby Moving (1959), which documents the birth of the filmmaker’s first child. He also examines found footage films that erase elements from preexisting films such as Naomi Uman’s removed (1999), which uses nail polish and bleach to blot out all the women from a pornographic film, and Martin Arnold’s Deanimated (2002), which digitally eliminates images and sounds from a Bela Lugosi B movie. Remes maps out the effects and significations of filmic voids while grappling with their implications for film theory. Through a careful analysis of a broad array of avant-garde works, Absence in Cinema reveals that films must be understood not only in terms of what they show but also what they withhold.
This field-defining collection establishes unfinished film projects--abandoned, interrupted, lost, or open-ended--as rich and underappreciated resources for feminist film and media studies. In deeply researched and creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders. Incomplete recovers projects and practices marginalized in film industries and scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy. Objects of loss and of possibility, incomplete films raise profound historiographical and ethical questions about the always unfinished project of film history, film spectatorship, and film studies.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
Tiré du site Internet Les Presses du réel: "After the infamous split in the Situationist International in 1962, the Danish artist J. V. Martin was unexpectedly put in charge of the group's Scandinavian section. This book is the first presentation of Martin's strange trajectory within the SI, in which he would remain a member until the group's dissolution in 1972."
Your Invitation Awaits… You’ve tried harder. You’ve been more intentional. You’ve done everything “right.” In your search for meaning and purpose, you’ve placed your hope in many different things—only to find yourself at a turning point, quietly asking, Is this it? Is this all there is? If the direction of your life is leading you away from peace, contentment, and true fulfillment, Emily Lex has some great news to share with you: God is offering you a better way. A way of real rest. A way of quiet confidence. A way to free yourself from expectations. A way to become the person he created you to be. A way to learn his unforced rhythms of grace. Do you breathe a sigh of hope when you hear this holy and gentle invitation from Jesus? “Come to me… Keep company with me and you’ll learn to live freely and lightly.” If so, then you are ready to accept his offer to recover and renew your life. Start your journey today.
"Containing the public messages, speeches, and statements of the President", 1956-1992.
The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)
Walesa's autobiography provides a firsthand, inside history of Solidarity from 1984 to the present, as seen and told by its founder, the recently elected president of Poland. Here is the lively tale of the impassioned young electrician's rise from the Gdansk shipyard to the presidency, and of the events that ushered Poland into a new age. 8 pages of photographs.