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"This book concerns the rhetoric of visual manipulation that provokes readers to envision what is written on the page, treating visual details in ancient epic not as mere scene-setting information or enhancements to any given story, but as cues for performing specific imaginative processes. Through a series of close readings centred primarily on Virgil's Aeneid, the book aims to show that the experiential effects that Virgil puts into play do serious narrative work of their own by structuring lines of sight, both visual and emotive, and shifting them about in ways that move readers into and out of the visual and emotional worlds of the story's characters. Whereas most studies of narrative visualization concern seeing, this one concerns watching. And listening. And trying to keep up. Informing the book's theoretical approach are recent cognitivist and constructivist studies of how audiences watch narrative films and make sense of what they are being given to see. By looking to the world of narrative films, where directors use shots craftily edited to cue audiences to 'fill in' for what the camera itself cannot show, the book locates new narrative content lurking in old places, brought to life within the imaginations of readers. The end result is a new approach to the question of how ancient epic tales convey narrative content through visual means"--
Though stylistics undoubtedly plays a crucial role in the scholarship on Latin poetry - from commentaries to textual criticism, from intertextuality to literary criticism - in recent years, for various reasons, it has not received the attention it deserves. This book, published a generation after Adams and Mayer's seminal 1999 volume, Aspects of the Language of Latin Poetry, ideally aims to complement and update it on a smaller scale, offering the reader a collection of stimulating papers from international scholars on the style of some of the most significant voices of Latin poetry, from early drama to the Flavian period.
The first systematic study of classical literature and arts to explain their close affinities with modern visual technologies and media.
Betrayed, beaten, and banished by his own, an outed cop fights his way across Jamaica for revenge!
Paul explores the relationship between films set in the ancient world and the classical epic tradition, arguing that there is a connection between the genres. Through this careful consideration of how epic manifests itself through different periods and cultures, we learn how cinema makes a claim to be a modern vehicle for a very ancient tradition.
Revisit America’s Golden Age of classical music through the witty and wildly popular reviews of our greatest critic-composer For fourteen memorable years Virgil Thomson surveyed the worlds of opera and classical music as the chief music critic for the New York Herald Tribune. An accomplished composer who knew music from the inside, Thomson communicated its pleasures and complexities to a wide readership in a hugely entertaining, authoritative style, and his daily reviews and Sunday articles set a high-water mark in American cultural journalism. Thomson collected his newspaper columns in four volumes: The Musical Scene, The Art of Judging Music, Music Right and Left, and Music Reviewed. All are gathered here, together with a generous selection of Thomson’s uncollected writings. The result is a singular chronicle of a magical time when an unrivaled roster of great conductors (Koussevitzky, Toscanini, Beecham, Stokowski) and legendary performers (Horowitz, Rubinstein, Heifetz, Stern) presented new masters (Copland, Stravinsky, Britten, Bernstein) and re-introduced the classics to a rapt American audience. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.
Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students’ appreciation for how creative choices by filmmakers affect what viewers experience and how they respond. Film Art is generously illustrated with more than 1,000 frame enlargements taken directly from completed films, providing concrete illustrations of key concepts.
"This monograph explores the under-researched use of music in Jean-Luc Godard's films and video essays from the early 1960s to the late 1990s. While Godard is largely hailed as a leading innovator of visual montage, unique storytelling style, and ground-breaking cinematography, his achievements as a leading pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image have been mainly overlooked. On these soundtracks, music assumes the unique role of metafilm music. Metafilm music self-consciously refers to its own role as film music and disrupts the primary function of film music as an essential filmic device creating cinematic illusion. The concept of metafilm music describes how Godard thinks with film music about film music. Metafilm music manifests itself in Godard's work in four distinct manners: as fragmentized musical cues; as the same fragment verbatim repeated several times; as extrapolated, short excerpts from classical or popular music; and as music mixed unusually loudly into the soundtrack. With a detailed analysis of these parameters, the book explores fragmented and repeated music as Godard's critique of the leitmotif technique. Godard further self-reflexively investigates genre-specific music in musical comedies, films noir, and melodramas, as well as prototypical film music as arguably its own musical genre. His last foray into metafilm music entails music-making as a metaphor for filmmaking. By thinking with music about the function of film music, Godard has created throughout his career multi-layered soundtracks which challenge the conventional norms of film music and sound"--
Written by eminent scholar David O. Ross, this guide helps readers to engage with the poetry, thought, and background of Virgil’s great epic, suggesting both the depth and the beauty of Virgil’s poetic images and the mental images with which the Romans lived. Guides readers through the complexity of Virgil’s poetic style and imagery All extracts are translated, with original Latin given when necessary Provides useful historical and social context in which to understand the poem as it was viewed in its time Includes short introductions to important topics such as Roman religion and the Roman concept of ‘character’ Features a helpful appendix which clarifies how to read and hear the poem's Latin hexameter
Intersecting Film, Music, and Queerness uses musicology and queer theory to uncover meaning and message in canonical American cinema. This study considers how queer readings are reinforced or nuanced through analysis of musical score. Taking a broad approach to queerness that questions heteronormative and homonormative patriarchal structures, binary relationships, gender assumptions and anxieties, this book challenges existing interpretations of what is progressive and what is retrogressive in cinema. Examined films include Bride of Frankenstein, Louisiana Story, Rudolph the Red-Nosed Reindeer, Blazing Saddles, Edward Scissorhands, Brokeback Mountain, Boys Don't Cry, Transamerica, Thelma & Louise, Go Fish and The Living End, with special attention given to films that subvert or complicate genre. Music is analyzed with concern for composition, intertextual references, absolute musical structures, song lyrics, recording, arrangement, and performance issues. This multidisciplinary work, featuring groundbreaking research, analysis, and theory, offers new close readings and a model for future scholarship.