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The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.
The world-famous French singer Édith Piaf (1915-63) was never just a singer. This book suggests new ways of understanding her, her myth and her meanings over time at home and abroad, by proposing the notion of an 'imagined Piaf.
Everyone thought that the Lord of Terror known as Fantomas had perished aboard the Titanic in April 1912, but they were wrong! Fantomas returns in 1917 New York, on the eve of America entering the Great War. His diabolical plot: to capture Professor Harrington, the only man to know the secret of Eldorado and gold-making. His goal: to rule the New World. His method: to spread terror! The only man who stands in his way: Detective Frederick Dickson. This original Fantomas novel by David White is inspired from the long-lost 1920 American Fantomas serial written by Edward Sedwick & George Eshenfelder for the Fox Film Corporation. It is illustrated with 50 rare stills and advertising art from the serial.
Ginzburg, "the preeminent Italian historian of his generation [who] helped create the genre of microhistory" ("New York Times"), ruminates on how perspective affects what we see and understand. 26 illustrations.
Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.
In contemporary film theory, body and mind have been central to explorations of film form, representation, and spectatorship. While the soul may seem to have no place here, the history of film theory and its legacy to the present suggest otherwise. From the origins of film theory – from Hugo Münsterberg through French Impressionism to writings of the Weimar Republic – to the mid-twentieth century work of Henri Agel and Amédée Ayfre, as well as Edgar Morin, the soul emerges as a multi-faceted, if contested, concept. By revisiting such key moments in the history of film theory, and tracing the survival of this concept through to a range of cutting-edge debates today, from the work of Vivian Sobchack to Jean-Luc Nancy, Gilles Deleuze to Torben Grodal, The Soul of Film Theory tells the heretofore tacit tale of the relation between cinema and the soul, from classical to contemporary times, in dialogue with philosophy, religion, and science.
Intrepid journalist Jerome Fandor picks up the trail of FantOmas in London, but before he can relay the details to Inspector Juve in Paris, the Lord of Terror pounces. Meanwhile a certain Dr. Garrick, suspected of the murder of his missing wife, flees with his mistress aboard an ocean liner, with Detective Shepard of the "Council of Five" (Scotland Yard's top agents) in pursuit. Madame Garrick, presumed dead, is in France and could exonerate her estranged husband, but only Juve knows the terrible secret of her true identity. "From the imaginative standpoint FantOmas is one of the richest works that exist." --Guillaume Apollinaire "Absurd and magnificent lyricism." --Jean Cocteau
First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
Until now it has been impossible to read the full story of the relationship between Albert Camus and Jean-Paul Sartre. Their dramatic rupture at the height of the Cold War, like that conflict itself, demanded those caught in its wake to take sides rather than to appreciate its tragic complexity. Now, using newly available sources, Ronald Aronson offers the first book-length account of the twentieth century's most famous friendship and its end. Albert Camus and Jean-Paul Sartre first met in 1943, during the German occupation of France. The two became fast friends. Intellectual as well as political allies, they grew famous overnight after Paris was liberated. As playwrights, novelists, philosophers, journalists, and editors, the two seemed to be everywhere and in command of every medium in post-war France. East-West tensions would put a strain on their friendship, however, as they evolved in opposing directions and began to disagree over philosophy, the responsibilities of intellectuals, and what sorts of political changes were necessary or possible. As Camus, then Sartre adopted the mantle of public spokesperson for his side, a historic showdown seemed inevitable. Sartre embraced violence as a path to change and Camus sharply opposed it, leading to a bitter and very public falling out in 1952. They never spoke again, although they continued to disagree, in code, until Camus's death in 1960. In a remarkably nuanced and balanced account, Aronson chronicles this riveting story while demonstrating how Camus and Sartre developed first in connection with and then against each other, each keeping the other in his sights long after their break. Combining biography and intellectual history, philosophical and political passion, Camus and Sartre will fascinate anyone interested in these great writers or the world-historical issues that tore them apart.