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Essays examining the work of maverick scientific documentary filmmaker Jean Painleve.
An archive-based, in-depth analysis of the surreal nature and science movies of the pioneering French filmmaker Jean Painlevé Before Jacques-Yves Cousteau, there was Jean Painlevé, a pioneering French scientific and nature filmmaker with a Surrealist’s eye. Creator of more than two hundred films, his studies of strange animal worlds doubled as critical reimaginations of humanity. With an unerring eye for the uncanny and unexpected, Painlevé and his assistant Geneviève Hamon captured oneiric octopuses, metamorphic crustaceans, erotic seahorses, mythic vampire bats, and insatiable predatory insects. Zoological Surrealism draws from Painlevé’s early oeuvre to rethink the entangled histories of cinema, Surrealism, and scientific research in interwar France. Delving deeply into Painlevé’s archive, James Leo Cahill develops an account of “cinema’s Copernican vocation”—how it was used to forge new scientific discoveries while also displacing and critiquing anthropocentric viewpoints. From Painlevé’s engagements with Sergei Eisenstein, Georges Franju, and competing Surrealists to the historiographical dimensions of Jean Vigo’s concept of social cinema, Zoological Surrealism taps never-before-examined sources to offer a completely original perspective on a cutting-edge filmmaker. The first extensive English-language study of Painlevé’s early films and their contexts, it adds important new insight to our understanding of film while also contributing to contemporary investigations of the increasingly surreal landscapes of climate change and ecological emergency.
Sisters of the Revolution gathers a highly curated selection of feminist speculative fiction (science fiction, fantasy, horror, and more) chosen by one of the most respected editorial teams in speculative literature today, the award-winning Ann and Jeff VanderMeer. Including stories from the 1970s to the present day, the collection seeks to expand the conversation about feminism while engaging the reader in a wealth of imaginative ideas. From the literary heft of Angela Carter to the searing power of Octavia Butler, Sisters of the Revolution gathers daring examples of speculative fiction’s engagement with feminism. Dark, satirical stories such as Eileen Gunn’s “Stable Strategies for Middle Management” and the disturbing horror of James Tiptree Jr.’s “The Screwfly Solution” reveal the charged intensity at work in the field. Including new, emerging voices like Nnedi Okorafor and featuring international contributions from Angelica Gorodischer and many more, Sisters of the Revolution seeks to expand the ideas of both contemporary fiction and feminism to new fronts. Moving from the fantastic to the futuristic, the subtle to the surreal, these stories will provoke thoughts and emotions about feminism like no other book available today. Contributors include: Angela Carter, Angelica Gorodischer, Anne Richter, Carol Emshwiller, Catherynne M. Valente, Eileen Gunn, Eleanor Arnason, Elizabeth Vonarburg, Hiromi Goto, James Tiptree Jr., Joanna Russ, Karin Tidbeck, Kelley Eskridge, Kelly Barnhill, Kit Reed, L. Timmel Duchamp, Leena Krohn, Leonora Carrington, Nalo Hopkinson, Nnedi Okorafor, Octavia Butler, Pamela Sargent, Pat Murphy, Rachel Swirsky, Rose Lemberg, Susan Palwick, Tanith Lee, Ursula K. Le Guin, and Vandana Singh.
The Museum of Rhythm is a speculative institution that engages rhythm as a tool for interrogating the foundations of modernity and the sensual complex of time in daily experience. When entering a larger cultural infrastructure such as the art museum, it juxtaposes modern and contemporary art with ethnographic research, cinema, music, and scientific instruments to set in resonance a critical apparatus and conduct exercises in Rhythmanalysis. This book, and the exhibition upon which it is based, is an outcome of durational research that sees art as one of the means by which the ideologies of rhythm are implemented. Hence alongside artworks it, by necessity, includes objects, films, and documents connected with the history of the development of time measurement, labor monitoring devices, choreography, and music practice, which enable the human being to experience more complex rhythms. The book includes visual documentation of the exhibition as well as essays and texts by Lawrence Abu Hamdan, Erick Beltrán, Robert Brain, Francisco Camacho Herrera, Natasha Ginwala, Robert Horvitz, Ken Jacobs, Elisabeth Lebovici, Ernst Mach, Angela Melitopoulos, Daniel Muzyczuk, Nana Oforiatta-Ayim, Jean Painlevé, Forrestine Paulay, Kathleen Rivera, Simon Schaffer, Georg Simmel, Wadada Leo Smith, Stephen Willats, and Jason Young. Copublished with Muzeum Sztuki, Łódź
Bringing together an expansive range of writing by scholars, critics, historians, and filmmakers, The Documentary Film Reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. Each of the book's seven sections covers a distinct period in the history of documentary, collecting both contemporary and retrospective views of filmmaking in the era. And each section is prefaced by an introductory essay that explains its design and provides critical context. Painstakingly selected from the archives of more than a hundred years of cinema practice and theory, the essays, reviews, interviews, manifestos, and ephemera gathered in this volume suit the needs and interests of the beginning student, the advanced scholar, the casual reader, and the working documentarian.
The concept of framing has long intrigued and troubled scholars in fields including philosophy, rhetoric, media studies and literary criticism. But framing also has rich implications for environmental debate, urging us to reconsider how we understand the relationship between humans and their ecological environment, culture and nature. The contributors to this wide-ranging volume use the concept of framing to engage with key questions in environmental literature, history, politics, film, TV, and pedagogy. In so doing, they show that framing can serve as a valuable analytical tool connecting different academic discourses within the emergent interdisciplinary field of the environmental humanities. No less importantly, they demonstrate how increased awareness of framing strategies and framing effects can help us move society in a more sustainable direction.
By Amos Vogel. Foreword by Scott MacDonald.
Examines the original and fascinating journey of discovery into the influence of the ocean in cultural history. Includes work by a wide range of artists and writers and accompanies a UK touring exhibition.
None of Jean Lorrain's biographers has contrived to discover exactly when or why he began taking ether, or how much of it he took before realising (too late) that it was an extremely bad idea. The drug certainly helped provide the feverish, nightmarish atmosphere of these wonderfully decadent and sophisticated tales, and many of the apparitions with which they are populated. Brian Stableford's superb translations represent the first appearance in English of Jean Lorrain's ether-inspired 'nightmares', originally collected as Sensations et Souvenirs in 1895. The later tales also translated here for the first time are in the tradition of the contes cruel, and in them the influence of ether-drinking is still very much apparent. In his authoritative Introduction Brian Stableford presents Lorrain as one of the select band of literary figures "whose life and art were bound together into the most seamless whole. He was the man who embodied, more intimately and more inescapably than any other, the absurdities, affectations, paradoxes and perversities of the Decadent style and the Decadent world-view."
How computer animation technologies became vital visualization tools in the life sciences Who would have thought that computer animation technologies developed in the second half of the twentieth century would become essential visualization tools in today’s biosciences? This book is the first to examine this phenomenon. Molecular Capture reveals how popular media consumption and biological knowledge production have converged in molecular animations—computer simulations of molecular and cellular processes that immerse viewers in the temporal unfolding of molecular worlds—to produce new regimes of seeing and knowing. Situating the development of this technology within an evolving field of historical, epistemological, and political negotiations, Adam Nocek argues that molecular animations not only represent a key transformation in the visual knowledge practices of life scientists but also bring into sharp focus fundamental mutations in power within neoliberal capitalism. In particular, he reveals how the convergence of the visual economies of science and entertainment in molecular animations extends neoliberal modes of governance to the perceptual practices of scientific subjects. Drawing on Alfred North Whitehead’s speculative metaphysics and Michel Foucault’s genealogy of governmentality, Nocek builds a media philosophy well equipped to examine the unique coordination of media cultures in this undertheorized form of scientific media. More specifically, he demonstrates how governmentality operates across visual practices in the biosciences and the popular mediasphere to shape a molecular animation apparatus that unites scientific knowledge and entertainment culture. Ultimately, Molecular Capture proposes that molecular animation is an achievement of governmental design. It weaves together speculative media philosophy, science and technology studies, and design theory to investigate how scientific knowledge practices are designed through media apparatuses.