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From the proto-cinematic sequencing of animal motion in the nineteenth century to the ubiquity of animal videos online, the histories of animal life and the moving image are enigmatically interlocked. Animal Life and the Moving Image is the first collection of essays to offer a sustained focus on the relations between screen cultures and non-human animals. The volume brings together some of the most important and influential writers working on the non-human animal's significance for cultures and theories of the moving image. It offers innovative analyses of the representation of animals across a wide range of documentary, fiction, mainstream and avant-garde practices, from early cinema to contemporary user-generated media. Individual chapters consider King Kong, The Birds, The Misfits, The Cove, Grizzly Man and Microcosmos, the work of Sergei Eisenstein, Robert Bresson, Malcolm Le Grice, Peter Greenaway, Carolee Schneemann and Isabella Rossellini, and YouTube stars Christian the lion and Maru the cat.
Since the mid-1970s, the colloquial term zone has often been associated with the troubled post-war housing estates on the outskirts of large French cities. However, it once referred to a more circumscribed space: the zone non aedificandi (non-building zone) which encircled Paris from the 1840s to the 1940s. This unusual territory, although marginal in a social and geographical sense, came to occupy a central place in Parisian culture. Previous studies have focused on its urban and social history, or on particular ways in which it was represented during particular periods. By bringing together and analysing a wider range of sources from the duration of the zone’s existence, this study offers a rich and nuanced account of how the area was perceived and used by successive generations of Parisian novelists (including Zola and Flaubert), poets, songwriters, artists, photographers, film-makers, politicians and town-planners. More generally, it aims to raise awareness of a neglected aspect of Parisian cultural history while pointing to links between current and past perceptions of the city’s periphery.
This book offers something entirely new: detailed scene-by-scene descriptions of the action and dancing of Giselle, Paquita, Le Corsaire, La Bayadère, and Raymonda, bringing the reader far closer to what the audience saw when the curtain went up on these five classic story ballets than has heretofore been possible. Drawing on archival documents, the authors show that these ballets were like today's pop entertainment: funnier, more violent, more spectacular, and with female characters far stronger than one might expect. This rigorously researched book fills huge gaps in dance history and is bound to be of interest to practitioners, scholars, and devotees of ballet and the arts.
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
A groundbreaking look at the transition to sound in the French Cinema.
Before the Vichy regime, there was ostensibly only one France and one form of colonialism for French West Africa (FWA). World War II and the division of France into two ideological camps, each asking for legitimacy from the colonized, opened for Africans numerous unprecedented options. French Colonialism Unmasked analyzes three dramatic years in the history of FWA, from 1940 to 1943, in which the Vichy regime tried to impose the ideology of the National Revolution in the region. Ruth Ginio shows how this was a watershed period in the history of the region by providing an in-depth examination of the Vichy colonial visions and practices in fwa. She describes the intriguing encounters between the colonial regime and African society along with the responses of different sectors in the African population to the Vichy policy. Although French Colonialism Unmasked focuses on one region within the French Empire, it has relevance to French colonial history in general by providing one of the missing pieces in research on Vichy colonialism. Ruth Ginio is a research fellow at the Harry S. Truman Research Institute for the Advancement of Peace in the Hebrew University of Jerusalem. She is the author of articles in International Journal of African Historical Studies, Revue d'histoire moderne et contemporaine, Cahiers d'etudes africaines, and several other journals.
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.
This revised and updated edition of a successful and established text provides a much-needed historical overview of French cinema from its roots through to the political and social developments in the 1990s and beyond.
"A new novel from the author of Oleander Girl, a novel in stories, built around crucial moments in the lives of 3 generations of women in an Indian/Indian-American Family"--