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Focusing on the precursors and contexts of ethnographic film, this text depicts the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures.
"A Wondrous Journey" shows us what can occur when action is taken. When photographer Lynn Cluess Manzione decided to take on a project to counter what certain media are portraying as "women worthy of our attention," she found herself on an incredible journey. Manzione traveled through time with Dr. Martha MacGuffie, a retired surgeon and eighty-six-year-old humanitarian whose poignant story not only achieved the photographer's mission to show that beauty is heart and soul deep, but also offered wonderful life lessons along the way. "A Wondrous Journey" is the chronicle of Dr. MacGuffie's inspiring life story one of triumph, loss, and profound compassion. It is also a journey of self-discovery for Manzione, which leads to what they both share on the pages of this small book with big lessons.
Martin Luther and Buddhism: Aesthetics of Suffering carefully traces the historical and theological context of Luther's breakthrough in terms of articulating justification and justice in connection to the Word of God and divine suffering. Chung critically and constructively engages in dialogue with Luther and with later interpreters of Luther such as Barth and Moltmann, placing the Reformer in dialogue not only with Asian spirituality and religions but also with emerging global theology of religions.
Winner of: The Pulitzer Prize The National Book Critics Circle Award The Anisfield-Wolf Book Award The Jon Sargent, Sr. First Novel Prize A Time Magazine #1 Fiction Book of the Year One of the best books of 2007 according to: The New York Times, San Francisco Chronicle, New York Magazine, Entertainment Weekly, The Boston Globe, Los Angeles Times, The Washington Post, People, The Village Voice, Time Out New York, Salon, Baltimore City Paper, The Christian Science Monitor, Booklist, Library Journal, Publishers Weekly, New York Public Library, and many more... Nominated as one of America’s best-loved novels by PBS’s The Great American Read Oscar is a sweet but disastrously overweight ghetto nerd who—from the New Jersey home he shares with his old world mother and rebellious sister—dreams of becoming the Dominican J.R.R. Tolkien and, most of all, finding love. But Oscar may never get what he wants. Blame the fukú—a curse that has haunted Oscar’s family for generations, following them on their epic journey from Santo Domingo to the USA. Encapsulating Dominican-American history, The Brief Wondrous Life of Oscar Wao opens our eyes to an astonishing vision of the contemporary American experience and explores the endless human capacity to persevere—and risk it all—in the name of love.
In the earliest years of cinema, travelogues were a staple of variety film programs in commercial motion picture theaters. These short films, also known as "scenics," depicted tourist destinations and exotic landscapes otherwise inaccessible to most viewers. Scenics were so popular that they were briefly touted as the future of film. But despite their pervasiveness during the early twentieth century, travelogues have been overlooked by film historians and critics. In Education in the School of Dreams, Jennifer Lynn Peterson recovers this lost archive. Through innovative readings of travelogues and other nonfiction films exhibited in the United States between 1907 and 1915, she offers fresh insights into the aesthetic and commercial history of early cinema and provides a new perspective on the intersection of American culture, imperialism, and modernity in the nickelodeon era. Peterson describes the travelogue's characteristic form and style and demonstrates how imperialist ideologies were realized and reshaped through the moving image. She argues that although educational films were intended to legitimate filmgoing for middle-class audiences, travelogues were not simply vehicles for elite ideology. As a form of instructive entertainment, these technological moving landscapes were both formulaic and also wondrous and dreamlike. Considering issues of spectatorship and affect, Peterson argues that scenics produced and disrupted viewers' complacency about their own place in the world.
In her authoritative new book, Maite Conde introduces readers to the crucial early years of Brazilian cinema. Focusing on silent films released during the First Republic (1889-1930), Foundational Films explores how the medium became implicated in a larger project to transform Brazil into a modern nation. Analyzing an array of cinematic forms, from depictions of contemporary life and fan magazines, to experimental avant-garde productions, Conde demonstrates the distinct ways in which Brazil’s early film culture helped to project a new image of the country.
Powerfully posing questions of ethics, ideology, authorship and form, documentary film has never been more popular than it is today. Edited by one of the leading British authorities in the field, The Documentary Film Book is an essential guide to current thinking on documentary film. In a series of fascinating essays, key international experts discuss the theory of documentary, outline current understandings of its history (from pre-Flaherty to the post-Griersonian world of digital 'i-Docs'), survey documentary production (from Africa to Europe, and from the Americas to Asia), consider documentaries by marginalised minority communities, and assess its contribution to other disciplines and arts. Brought together here in one volume, these scholars offer compelling evidence as to why, over the last few decades, documentary has come to the centre of screen studies.
This volume defines versions of the transnational in their historical and cultural specificity. By "locating," the contributors contextualize historical and contemporary understandings of the fluid term "transnational," which vary in relation to the disciplines involved. This kind of historical and geographical "locating" implicitly turns against forms of contemporary transnational euphoria which, inspired by poststructural models of all-encompassing semiospheres, on the one hand, and by visions of the utopian communicative potential of new media like the internet, on the other, see national and ethnic paradigms as easily superseded by transnational agendas. By differentiating between various forms of transnational ideals and ideas in historical and geographical perspective since the Renaissance, the contributors aim to rediscover distinctions -- for instance between transnationalisms and cosmopolitanisms -- which neo-liberal transnational euphoria has tended to erase.
In this second edition of the remarkable, and now classic, cultural history of black women’s beauty, Venus in the Dark, Janell Hobson explores the enduring figure of the "Hottentot Venus" and the history of critical and artistic responses to her by black women in contemporary photography, film, literature, music, and dance. In 1810, Sara Baartman was taken from South Africa to Europe, where she was put on display at circuses, salons, museums, and universities as the "Hottentot Venus." The subsequent legacy of representations of black women’s sexuality—from Josephine Baker to Serena Williams to hip-hop and dancehall videos—refer back to her iconic image. Via a new preface, Hobson argues for the continuing influence of Baartman’s legacy, as her image still reverberates through the contemporary marketization of black women’s bodies, from popular music and pornography to advertising. A brand new chapter explores how historical echoes from previous eras map onto highly visible bodies in the twenty-first century. It analyzes fetishistic spectacles of the black "booty," with particular emphasis on the role of Beyoncé Knowles in the popularization of the "bootylicious" body, and the counter-aesthetic the singer has gone on to advance for black women’s bodies and beauty politics. By studying the imagery of the "Hottentot Venus," from the nineteenth century to now, readers are invited to confront the racial and sexual objectification and embodied resistance that make up a significant part of black women’s experience.
An NYRB Classics Original Shakespeare, Nietzsche wrote, was Montaigne’s best reader—a typically brilliant Nietzschean insight, capturing the intimate relationship between Montaigne’s ever-changing record of the self and Shakespeare’s kaleidoscopic register of human character. And there is no doubt that Shakespeare read Montaigne—though how extensively remains a matter of debate—and that the translation he read him in was that of John Florio, a fascinating polymath, man-about-town, and dazzlingly inventive writer himself. Florio’s Montaigne is in fact one of the masterpieces of English prose, with a stylistic range and felicity and passages of deep lingering music that make it comparable to Sir Robert Burton’s Anatomy of Melancholy and the works of Sir Thomas Browne. This new edition of this seminal work, edited by Stephen Greenblatt and Peter G. Platt, features an adroitly modernized text, an essay in which Greenblatt discusses both the resemblances and real tensions between Montaigne’s and Shakespeare’s visions of the world, and Platt’s introduction to the life and times of the extraordinary Florio. Altogether, this book provides a remarkable new experience of not just two but three great writers who ushered in the modern world.