Digital, video and new media arts Books
University of Minnesota Press The Quay Brothers
Book SynopsisThe complex, special power of the Quay Brothers' puppet animation poetics.Trade Review"Suzanne Buchan’s book offers a welcome introduction to the art of the Brothers Quay, with an emphasis on a detailed reading of their animated film, Street of Crocodiles. The Quay Brothers offers engaging descriptions and thought-provoking insights into the Quays’ art specifically and into the art of animation generally." —Thomas Lamarre, McGill University"To use the term Buchan cites from Joyce, this is a fascinating transluding of the Quays’ work into prose. Based on several years’ affectionate acquaintance with the pair, The Quay Brothers is entertaining, often innovative, and highly evocative. A great book on the Quays and on the British scene since the 1970s, it also opens up new avenues for animation and film studies." —Sean Cubitt, University of MelbourneTable of ContentsContents Acknowledgments Introduction 1. Authentic Trappers in Metaphysical Playrooms 2. Palimpsests, Fragments, Vitalist Affinities 3. Traversing the Esophagus 4. Puppets and Metaphysical Machines 5. Negotiating the Labyrinth 6. The Secret Scenario of Soundscapes 7. The Animated Frame and Beyond 8. Animistic Architectures Notes Bibliography Works of the Quay Brothers Index
£19.79
University of Minnesota Press Scenes of Projection
Book SynopsisTrade Review“In Shadows of Enlightenment, Jill Casid sets herself no less a task than the rethinking of modernity and the formation of the European subject. Concerned with the psychic, affective, and material powers of projection and propelled by queer, feminist, and postcolonial revisions of psychoanalysis, Casid ultimately takes her readers from the mythic origins of representation to exemplary instances of contemporary art. And in the course of traversing the history and charting the geography of projection, even as she tarries with darkness, she produces nothing short of illumination.” —Lisa Saltzman, Bryn Mawr CollegeTable of ContentsContentsIntroduction: Shadows of Enlightenment 1. Paranoid Projection and the Phantom Subject of Reason2. Empire through the Magic Lantern3. Empire Bites Back4. Along Enlightenment’s Cast Shadows5. Following the RainbowConclusion. Queer Projection: Theses on the “Future of an Illusion”AcknowledgmentsNotesIndex
£20.89
University of Minnesota Press Brutal Vision
Book SynopsisHow spectacular visions of physical suffering in post–World War II Italian neorealist films redefined moviegoing as a form of political actionTrade Review"If there were ever any doubts about neorealism’s enduring power to generate fine scholarship, Karl Schoonover’s book should lay them to rest. To this most exhaustively studied body of films, the author brings a doubly original perspective-both geopolitically oriented and ethically charged. The result is a theory of spectatorship that goes far toward accounting for neorealism’s pivotal role in the history of film." —Millicent Marcus, author of After Fellini: National Cinema in the Postmodern Age"While many scholars have struggled to describe the film movement known as neorealism, Brutal Vision advances a different and intellectually productive approach to a vexed subject. The innovative book undertakes a multi-faceted rewriting of post World War II cinema history in a national and international context." —Marcia Landy, author of Stardom, Italian Style: Screen Performance and Personality in Italian Cinema"This challenging study—with its surprising, persuasive new connections—offers many fresh insights into familiar films. Highly recommended." —CHOICE"Karl Schoonover’s study is a thoroughly worthwhile reconsideration of Italian neorealism. The text accomplishes an always valuable and always challenging objective, namely, that of offering a new critical perspective on a critically well-trodden field. In a seamless blend of theoretical, formal, and archival analysis, Schoonover proposes a future itinerary for scholarly work on neorealism." —Italian Culture"After reading Brutal Vision, it will not be possible to observe the pain of Italian cinematic bodies without thinking of the geopolitical antes being waged on Italy’s body-politic during the second half of the twentieth century. However, the importance of Schoonover’s book goes well beyond Italian borders. Brutal Vision is a convincing warning against a cinema of pity, and a cautionary tale on the risks of any representational mode founded on the spectacularization and exploitation of suffering. In an age of perpetual humanitarian crisis, Brutal Vision is of utmost urgency and relevancy." —Journal of Italian Cinema & Media"Schoonover’s study severs neorealism from the dominant debate on its centrality to Italian national identity and film history, and reimagines it on a global plane. Distinctively, however, Schoonovers pursues not a discussion of neorealism’s influence on past or present world film styles, but bringing and international and transnational perspective to bear on its geopolitical context." —ScreenTable of ContentsContentsAcknowledgmentsIntroduction1. An Inevitably Obscene Cinema: Bazin and Neorealism2. The North Atlantic Ballyhoo of Liberal Humanism3. Rossellini’s Exemplary Corpse and the Sovereign Bystander4. Spectacular Suffering: De Sica’s Bodies and Charity’s Gaze5. Neorealism Undone: The Resistant Physicalities of the Second GenerationConclusionNotesIndex
£19.79
University of Minnesota Press Ferocious Reality
Book SynopsisTrade Review"Werner Herzog has long avowed that he hates documentaries and does not participate in the tradition. Eric Ames’s wonderful book lets us in on an open secret: ‘Herzog has. . . added to the vitality and visibility of documentary cinema internationally for more than four decades.’ I would go further: the best of the films that Herzog has made over his long career have been those that, if not called documentaries, cannot be labeled fictions. Werner Herzog’s challenges to the documentary tradition have inevitably become part of that tradition. This book shows us how." —Linda Williams, University of California, Berkeley"Ferocious Reality is excellent. The book centers on how Herzog consistently undertakes an exploration of the limits of documentary cinema and engages with it as performative behavior, challenging its boundaries. Eric Ames analyzes a broad range of Herzog’s films and engages with an array of important theoreticians of documentary cinema. This book is first-rate and innovative." —Brad Prager, author of The Cinema of Werner Herzog: Aesthetic Ecstasy and TruthTable of ContentsContentsAcknowledgmentsThe Minnesota DeclarationIntroduction: Werner Herzog, Documentary Outsider1. Sensational BodiesGame in the SandHandicapped FutureLand of Silence and DarknessWodaabe2. Moving LandscapesThe Dark Glow of the MountainsFata Morgana, La SoufrièreLessons of DarknessWheel of Time3. Ecstatic JourneysHuie’s SermonBells from the DeepPilgrimage4. Baroque VisionsThe Great Ecstasy of Woodcarver SteinerDeath for Five VoicesGod and the Burdened5. Cultural PoliticsFitzcarraldoBallad of the Little SoldierTen Thousand Years OlderThe White Diamond6. ReenactmentsLittle Dieter Needs to FlyWings of HopeRescue Dawn7. Autobiographical ActsI Am My FilmsPortrait Werner HerzogMy Best FiendGrizzly ManConclusion: Herzog’s VéritéEncounters at the End of the WorldThe Cave of Forgotten DreamsNotesIndex
£19.79
University of Minnesota Press Night and Fog
Book SynopsisTrade Review"I do not hesitate to call Sylvie Lindeperg’s marvelously detailed study “Night and Fog”: A Film in History a major work of contemporary film historical scholarship. . . . [It] affords genuinely original historical and aesthetic insights . . . in finely wrought prose."—Stuart Liebman, Cineaste"The ultimate authoritative source on Alain Resnais’ groundbreaking Holocaust film Night and Fog (Nuit et brouillard, 1955). [Lindeperg’s] research is remarkable, and the book will be invaluable to those working in European history as well as film. This volume does remarkable service to Night and Fog, a film that in the immediate aftermath of the war challenged viewers to remember the victims of the Holocaust."—CHOICE"Night and Fog gave me a context, a literal frame of art through which I could watch the unwatchable. Slyvie Lindeperg’s book does something similar for the film itself, and readers willing to tackle it and the film will find the effort well rewarded."—Documentary Magazine"The definitive study of Night and Fog... Historians should also appreciate it as an excellent example of the type of historical work close attention to film makes possible."—Journal of Modern History"Sylvie Lindeperg’s masterful Night and Fog: A Film in History is the definitive work of reference on Resnais’s classic documentary. We are fortunate to have an excellent English translation of this important and beautifully written French work."—H-France ReviewsTable of ContentsContentsForewordJean-Michel FrodonAcknowledgmentsIntroductionAbbreviationsPrologue: Olga Wormser-Migot, the Missing LinkPart I. Inception: A Breakdown of Gazes1. The “Invisible Authority”: The Stakes of a Commission2. The “ Merchants of Shadows”: A French–Polish Coproduction3. A Journey to the East: Research and Documentation4. Writing Four Hands5. The Adventurous Gaze6. The Darkness of the Editing Room7. Suffocated Words: A Lazarian Poetry8. Eisler’s Neverending ChantPart II. Passage and Migration9. Tug of War with the Censors10. The Cannes Confusion: Dissecting a Scandal11. Germany Gets Its First Look12. Exile from Language: Paul Celan, Translator13. Translation Battles in the GDR14. A Portable Memorial15. Shifting Perspectives: An Educational Institution16. Constructing the Cinephilic GazeEpilogue: Olga’s TombNotesIndex
£19.79
University of Minnesota Press The Heretical Archive
Book SynopsisTrade Review"Inspired by other scholars who have brought the phenomenological method to cinema, Domietta Torlasco writes beautifully of her own encounters with films and images, drawing the reader into her own vision as she elucidates its implication in a constellation of deep thought. The book’s insights are as fresh and profound as its writing, in other words: at its best moments, it is a real tour de force that is an extended reflection rather than a series of discrete observations." —Amy Villarejo, author of Film Studies: The Basics "Digital technology allows once quiescent cinemagoers to dismantle and refashion previously inviolable products of the film industry. Torlasco sees the potential for politically transformative thinking in such acts. She argues that our capacity to imagine alternative futures may depend on our ability to reconfigure the virtual archive of filmic memory. Part philosophical reflection, part manifesto, Torlasco's book is essential reading for anyone wishing to steer a critical theory of audiovisual art between the Scylla and Charybdis of technophilia and artworldspeak. " —Victor Burgin, author of The Remembered FilmTable of ContentsContentsAcknowledgmentsIntroduction1. Against House Arrest: Antigone and the Impurity of the Death Drive2. Digital Impressions: Writing Memory after Agnès Varda3. Folding Time: Toward a New Theory of Montage4. Archiving Disappearance: From Michelangelo Antonioni to New MediaNotesIndex
£17.99
University of Minnesota Press Nauman Reiterated
Book SynopsisTrade Review"It had been Nauman’s genius to have reversed Minimalism’s conception of sculpture, from a phenomenological idealism to a post-utopian subjectivity in which the conditions of surveillance, control and exertion are recognized as central in defining experience in the present. And Janet Kraynak’s brilliant study is the first to have given Nauman’s aesthetic ambitions an adequately theorized interpretive apparatus." —Benjamin H.D. Buchloh, Harvard University"Nauman Reiterated is cogent and original, based on extensive and unique primary research, and theorized in a distinct, coherent, and compelling way. Janet Kraynak, a recognized expert on Nauman’s work, deftly navigates the discourses of academic scholarship and the gallery/art-world, using a nuanced and detailed set of sources." —Liz Kotz, author of Words to be Looked At: Language in 1960s ArtTable of ContentsContentsAcknowledgmentsIntroduction: To Reiterate Nauman1. Dangerous Variations2. The Failure to Communicate3. The World Is Heard Differently: On Sound and a New Culture of Recording4. The Screen Is Empty: Nauman Performs the Recorded Image5. Dependent ParticipationEpilogue: Interactivity to What Ends?NotesIndex
£21.59
University of Minnesota Press The Man Who Invented Rock Hudson
Book SynopsisTrade Review "Those who think Hollywood’s current predatory political scene and celebrity partner-swapping activities are new phenomena would be wise to dive into this tell-all tale of Henry Willson, an agent who became a major star maker to actors like Rock Hudson, Tab Hunter, and Troy Donahue in the 1950s."—Publishers Weekly"A trove of enticing gossip and little-known facts . . . Hofler chronicles Willson’s life of privilege. He roams through the origins of his paradoxical right-wing attitudes, early intrigues to obtain sexual power, conspiracies hatched in glamorous fabled nightclubs, the Trocadero, the Macombo. He describes nasty sexual antics among powerful studio heads."—Los Angeles Times "The Man Who Invented Rock Hudson is a gritty, often coarse but well-researched biography of a tough Hollywood power broker famous for his ‘Adonis factory.’"—Salon.com "Hofler, a Variety editor and reporter, is well matched to this shark-tank of a life." —Washington Post
£15.19
University of Minnesota Press Necromedia Posthumanities
Book SynopsisTrade Review"He provides a credible account of the unavoidability of death presence even in an over-technological existence."—Aurelio Cianciotta, Neural "Necromedia is very readable and not too long in length, it delivers a serious if disturbing message about our thanatophobic culture, in a strangely beguiling manner. O’Gorman is not afraid to mix theory with quite personal material and has the skill as a writer to do so effectively."—The Year’s Work in Critical and Cultural Theory"He provides a credible account of the unavoidability of death presence even in an over-technological existence."—Aurelio Cianciotta, Neural "Necromedia is very readable and not too long in length, it delivers a serious if disturbing message about our thanatophobic culture, in a strangely beguiling manner. O’Gorman is not afraid to mix theory with quite personal material and has the skill as a writer to do so effectively."—The Year’s Work in Critical and Cultural Theory"What Necromedia offers, and this may reflect the author’s being an artist and practitioner as well as a theorist, is a sense of theory being used for genuine engagement in the world and with its problems, and possibilities."—Technology and Culture"An ideal book for posthumanism."—Configurations"A powerful and deeply resonating argument in defense of an applied media theory founded in a techno-neopolitics of things, leaving the future open to ethically responsible reinvention. From dust to data, indeed."—Science Fiction, Film, and TelevisionTable of ContentsContentsIntroduction1. Necromedia Theory and Posthumanism2. Border Disorder3. Telephone, Pager, Two-Way Speaker, and Other Technologies of Betrayal4. Dreadmill5. Angels in Digital Armor: Technoculture, Terror Management, and the Antihero6. Cycle of Dread7. Speculative Realism Unchained: A Love Story8. Myth of the Steersman9. Digital Care, Curation, and Curriculum: On Applied Media Theory10. Roach Lab11. From Dust to Data: On Existential Terror and Horror PhilosophyAcknowledgmentsNotesBibliographyIndex
£61.20
Fordham University Press Expanded Cinema
Book SynopsisFiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood's influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood's insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today's hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include the paleocybernetic age, intermedia, the artist as desigTable of ContentsList of Illustrations | ix Introduction to the Fiftieth Anniversary Edition | xiii Introduction by R. Buckminster Fuller | 15 Inexorable Evolution and Human Ecology by R. Buckminster Fuller | 37 Preface | 41 Part One: The Audience and the Myth of Entertainment | 45 Radical Evolution and Future Shock in the Paleocybernetic Era | 50 The Intermedia Network as Nature | 54 Popular Culture and the Noosphere | 57 Art, Entertainment, Entropy | 59 Retrospective Man and the Human Condition | 66 The Artist as Design Scientist | 70 Part Two: Synaesthetic Cinema: The End of Drama | 75 Global Closed Circuit: The Earth as Software | 78 Synaesthetic Synthesis: Simultaneous Perception of Harmonic Opposites | 81 Syncretism and Metamorphosis: Montage as Collage | 84 Evocation and Exposition: Toward Oceanic Consciousness | 92 Synaesthetics as Kinaesthetics: The Way of All Experience | 97 Mythipoeiai: The End of Fiction | 106 Synaesthetics and Synergy | 109 Synaesthetic Cinema and Polymorphous Eroticism | 112 Synaesthetic Cinema and Extra-Objective Reality | 122 Image-Exchange and the Post-Mass Audience Age | 128 Part Three: Toward Cosmic Consciousness | 135 2001: The New Nostalgia | 139 The Stargate Corridor | 151 The Cosmic Cinema of Jordan Belson | 157 Part Four: Cybernetic Cinema and Computer Films | 179 The Technosphere: Man/Machine Symbiosis | 180 The Human Bio-Computer and His Electronic Brainchild | 183 Hardware and Software | 185 The Aesthetic Machine | 189 Cybernetic Cinema | 194 Computer Films | 207 Part Five: Television as a Creative Medium | 257 The Videosphere | 260 Cathode-Ray Tube Videotronics | 265 Synaesthetic Videotapes | 281 Videographic Cinema | 317 Closed-Circuit Television and Teledynamic Environments | 337 Part Six: Intermedia | 345 The Artist as Ecologist | 346 World Expositions and Nonordinary Reality | 352 Cerebrum: Intermedia and the Human Sensorium | 359 Intermedia Theatre | 365 Multiple-Projection Environments | 387 Part Seven: Holographic Cinema: A New World | 399 Wave-Front Reconstruction: Lensless Photography | 400 Dr. Alex Jacobson: Holography in Motion | 404 Limitations of Holographic Cinema | 407 Projecting Holographic Movies | 411 The Kinoform: Computer-Generated Holographic Movies | 414 Technoanarchy: The Open Empire | 415 Selected Bibliography | 421 Index | 427
£89.10
Fordham University Press Girl Head
Book SynopsisTable of ContentsList of Plates and Figures | ix Introduction: The Body of Medusa | 1 1 China Girls in the Film Laboratory | 33 2 Gone Girls of Escamontage | 73 3 Gradivan Footsteps in the Film Archive | 102 Afterword | 129 Acknowledgments | 133 Notes | 135 Bibliography | 165 Index | 181 Color plates follow page 84
£81.90
Ohio University Press Afrofuturisms
Book SynopsisAs a philosophical, literary, and visual aesthetic, Afrofuturism has been predominately defined through Anglophone, diasporic expressions. In Afrofuturisms Isaac Vincent Joslin reorients and expands this critical discourse toward colonial and postcolonial Francophone literature and film originating from continental Africa.Trade Review“A sophisticated and compelling investigation of Afrofuturism as an alternative discourse for imagining (and potentially building) a fairer world. Isaac Vincent Joslin offers incisive theoretical observations and deep explorations of numerous African francophone texts, amounting to a valuable contribution to global literary and cinematic scholarship.” -- Vlad Dima, author of The Beautiful Skin: Football, Fantasy, and Cinematic Bodies in Africa“A remarkable contribution to African literary and cultural studies.” -- Alexie Tcheuyap, author of Postnationalist African Cinemas“Written in an accessible and elegant style, [this] book is a veritable tour de force. In this highly original, innovative, and thought-provoking exploration of speculative, futurist science fiction in the Francophone tradition, Isaac Vincent Joslin demonstrates the unprecedented nature of the interconnected crises facing global society in a time of tremendous uncertainty.” -- Keith Moser, author of Contemporary French Environmental Thought in the Post-COVID-19 Era“A refreshing scrutiny of African cultural productions, Isaac Vincent Joslin’s book raises key questions concerning the politics of aesthetics. The study explores both male and female authors, as well as both literature and cinema, which is what makes the project strong and fascinating. Because it proposes groundbreaking perspectives on ‘humanities and the future of Africa,’ this is a work for the pedagogy of African literatures and the indispensable discussion of humanism and futurism in African contexts.” -- Hervé Tchumkam, Southern Methodist UniversityA seminal and groundbreaking study [and] a unique and highly recommended addition to personal, professional, community, and academic library collections. * Midwest Book Review *Table of ContentsAcknowledgments Introduction: Africanfuturism, Development, and Humanities 1. Afrofuturist Ecolinguistics: Redefining the “Science” of Science Fiction 2. Birthing the Future: Métissage and Cultural Hybridity in Francophone African Women’s Writing 3. Child Soldiers: Reinscribing the Human in a Culture of Perpetual War 4. Alienation, Estrangement, and Dreams of Departure: Emigration and the Politics of Global Inequality in (and out of) Francophone Africa 5. “We Don’t Need No Education” Alternative Pedagogies and Epistemologies in Bassek Ba Kobhio’s Sango Malo (1990) and Le Silence de la forêt (2003) 6. Paradis Artificiels: The Lottery of Global Economies in Djibril Diop Mambety’s Le Franc, Imunga Ivanga’s Dôlè, and Fadika Kramo-Lanciné’s Wariko 7. Arguing against the Shame of the State: Sony Labou Tansi’s Ecocritical Womanism and Gaiacene Planetarity Conclusion: Toward an Afrofuturist Ecohumanist Philosophy of Experience Notes References Index
£56.10
Ohio University Press Afrofuturisms
Book SynopsisAn exploration of Francophone African literary imaginations and expressions through the lens of Afrofuturism Generally attributed to the Western imagination, science fiction is a literary genre that has expressed projected technological progress since the Industrial Revolution. However, certain fantastical elements in African literary expressions lend themselves to science fiction interpretations, both utopian and dystopian. When the concept of science is divorced from its Western, rationalist, materialist, positivist underpinnings, science fiction represents a broad imaginative space that supersedes the limits of this world. Whether it be on the moon, under the sea, or elsewhere within the imaginative universe, Afrofuturist readings of select films, novels, short stories, plays, and poems reveal a similarly emancipatory African future that is firmly rooted in its own cultural mythologies, cosmologies, and philosophies.Isaac Joslin identifies the contours and modaTrade Review“A sophisticated and compelling investigation of Afrofuturism as an alternative discourse for imagining (and potentially building) a fairer world. Isaac Vincent Joslin offers incisive theoretical observations and deep explorations of numerous African francophone texts, amounting to a valuable contribution to global literary and cinematic scholarship.” -- Vlad Dima, author of The Beautiful Skin: Football, Fantasy, and Cinematic Bodies in Africa“A remarkable contribution to African literary and cultural studies.” -- Alexie Tcheuyap, author of Postnationalist African Cinemas“Written in an accessible and elegant style, [this] book is a veritable tour de force. In this highly original, innovative, and thought-provoking exploration of speculative, futurist science fiction in the Francophone tradition, Isaac Vincent Joslin demonstrates the unprecedented nature of the interconnected crises facing global society in a time of tremendous uncertainty.” -- Keith Moser, author of Contemporary French Environmental Thought in the Post-COVID-19 Era“A refreshing scrutiny of African cultural productions, Isaac Vincent Joslin’s book raises key questions concerning the politics of aesthetics. The study explores both male and female authors, as well as both literature and cinema, which is what makes the project strong and fascinating. Because it proposes groundbreaking perspectives on ‘humanities and the future of Africa,’ this is a work for the pedagogy of African literatures and the indispensable discussion of humanism and futurism in African contexts.” -- Hervé Tchumkam, Southern Methodist UniversityA seminal and groundbreaking study [and] a unique and highly recommended addition to personal, professional, community, and academic library collections. * Midwest Book Review *Table of ContentsAcknowledgments Introduction: Africanfuturism, Development, and Humanities 1. Afrofuturist Ecolinguistics: Redefining the “Science” of Science Fiction 2. Birthing the Future: Métissage and Cultural Hybridity in Francophone African Women’s Writing 3. Child Soldiers: Reinscribing the Human in a Culture of Perpetual War 4. Alienation, Estrangement, and Dreams of Departure: Emigration and the Politics of Global Inequality in (and out of) Francophone Africa 5. “We Don’t Need No Education” Alternative Pedagogies and Epistemologies in Bassek Ba Kobhio’s Sango Malo (1990) and Le Silence de la forêt (2003) 6. Paradis Artificiels: The Lottery of Global Economies in Djibril Diop Mambety’s Le Franc, Imunga Ivanga’s Dôlè, and Fadika Kramo-Lanciné’s Wariko 7. Arguing against the Shame of the State: Sony Labou Tansi’s Ecocritical Womanism and Gaiacene Planetarity Conclusion: Toward an Afrofuturist Ecohumanist Philosophy of Experience Notes References Index
£26.09
Renaissance Society at the University of Chicago Alejandro Cesarco Song
Book SynopsisAlejandro Cesarco: Song, published on the occasion of the exhibition of the same name at the Renaissance Society, brings together both new commissions and existing works. In the exhibition, Cesarco creates rhythm by incorporating silences and withholdings. The works form an installation drawing on the poetics of duration, refusal, repetition, and affective forms. This presentation, as in the artist's broader practice, represents a sustained investigation into time, memory, and how meaning is perceived. Centering on two related video works, the exhibition engaged deeply with histories of conceptual art. This catalog features an introduction by Solveig Øvstebø, a conversation between Alejandro Cesarco and Lynne Tillman, an essay by Julie Ault, and new short fiction by Wayne Koestenbaum in response to the exhibition.
£18.05
Johns Hopkins University Press A Cinema of Poetry
Book SynopsisBrings Italian film studies into dialogue with fields outside its usual purview by showing how films can contribute to our understanding of aesthetic questions that stretch back to Homer.Trade ReviewA thought-provoking and well-written investigation of the role of history and realism in Italian cinema and the role played by the centuries-long tradition of poetry (or more precisely, poesis) in this quest. -- Emiliano Perra H-Italy Ambitious, inventive, learned, and largely successful, A Cinema of Poetry ... brilliantly analyzes the art in the art film by showing how Italian cinema uses a chorus or expresses itself through allegory... This impressively intelligent re-description of the tradition surely takes its place alongside other necessary histories of Italian cinema. Choice Luzzi's inter-art encounters between literary and visual forms reanimate the cinematic texts he discusses. The book is not a reductive reincarnation of national identity or a nostalgic reanimation of the art film. It is a brave undertaking to think toward the future through poetic tropes gleaned from the past 'as the source for a cinematic rebirth. Journal of Modern Italian Studies What makes this particular publication stand out is its focus on inter-art within the discussion of cinema of poetry along with its ability to capture and keep the attention of both specialists and people with a general interest in the subject. Luzzi's writing style is comfortable to read and the many examples and references, both textual and visual, give a clear demonstration of the ideas and theories which are discussed in the various sections of the book. These positive characterizations of Luzzi's work will benefit and motivate future research surrounding the combination of inter-art and cinema of poetry, as well as Italian cinema history in general. ItalicaTable of ContentsPrefaceIntroductionPart One Neorealist Rhetoric and National Identity1. The Chorus of Neorealism2. Beyond BeautyPart Two Cinemas of Poetry3. Rossellini's Cinema of Poetry4. Poesis in PasoliniPart Three Aesthetic Corsi and Ricorsi5. Threat of the Real6. Chiasmus, Italian Style7. Verbal Montage and Visual ApostropheEpilogue: Art Film ReduxNotesWorks CitedIndex
£38.70
Johns Hopkins University Press A Cinema of Poetry
Book SynopsisTrade ReviewA thought-provoking and well-written investigation of the role of history and realism in Italian cinema and the role played by the centuries-long tradition of poetry (or more precisely, poesis) in this quest. -- Emiliano Perra H-Italy Ambitious, inventive, learned, and largely successful, A Cinema of Poetry ... brilliantly analyzes the art in the art film by showing how Italian cinema uses a chorus or expresses itself through allegory... This impressively intelligent re-description of the tradition surely takes its place alongside other necessary histories of Italian cinema. Choice Luzzi's inter-art encounters between literary and visual forms reanimate the cinematic texts he discusses. The book is not a reductive reincarnation of national identity or a nostalgic reanimation of the art film. It is a brave undertaking to think toward the future through poetic tropes gleaned from the past 'as the source for a cinematic rebirth. Journal of Modern Italian Studies What makes this particular publication stand out is its focus on inter-art within the discussion of cinema of poetry along with its ability to capture and keep the attention of both specialists and people with a general interest in the subject. Luzzi's writing style is comfortable to read and the many examples and references, both textual and visual, give a clear demonstration of the ideas and theories which are discussed in the various sections of the book. These positive characterizations of Luzzi's work will benefit and motivate future research surrounding the combination of inter-art and cinema of poetry, as well as Italian cinema history in general. ItalicaTable of ContentsPrefaceIntroductionPart One Neorealist Rhetoric and National Identity1. The Chorus of Neorealism2. Beyond BeautyPart Two Cinemas of Poetry3. Rossellini's Cinema of Poetry4. Poesis in PasoliniPart Three Aesthetic Corsi and Ricorsi5. Threat of the Real6. Chiasmus, Italian Style7. Verbal Montage and Visual ApostropheEpilogue: Art Film ReduxNotesWorks CitedIndex
£23.85
Temple University Press,U.S. Dangerous Knowledge
Book SynopsisOn the historic 50th Anniversary, this reissued edition looks at the contemporary meanings and influences of images of the JFK assassination by filmmakers, photographers, and artistsTrade Review Praise for the First Edition:"This history of the representation of the JFK assassination makes a terrific contribution to film studies and indeed to cultural studies generally. Moving with wit and erudition across political history, avant-garde film, serigraphy, journalism, and mass-market film, Simon transcends the banalities of the high culture/low culture binary to produce a study of exemplary range and insight." —David E. James, School of Cinema-Television, University of Southern CaliforniaTable of ContentsPreface to the New Paperback Edition Acknowledgments Introduction: The Assassination Debates Part One Chapter 1 The Zapruder Film Chapter 2 The Body Chapter 3 Images of Oswald Part Two Chapter 4 The Warhol Silkscreens Chapter 5 The Pop Camp Chapter 6 Bruce Conner Chapter 7 Assassination Video Part Three Chapter 8 Executive Action Chapter 9 The Parallax View/Winter Kills/Blow Out Chapter 10 JFK Epilogue Notes Index
£21.59
Duke University Press Artifactual
Book SynopsisIn Artifactual, Elizabeth Anne Davis explores how Cypriot researchers, scientists, activists, and artists process and reckon with civil and state violence that led to the enduring division of the island, using forensic and documentary materials to retell and recontextualize conflicts between and within the Greek-Cypriot and Turkish-Cypriot communities. Davis follows forensic archaeologists and anthropologists who attempt to locate, identify, and return to relatives the remains of Cypriots killed in those conflicts. She turns to filmmakers who use archival photographs and footage to come to terms with political violence and its legacies. In both forensic science and documentary filmmaking, the dynamics of secrecy and revelation shape how material remains such as bones and archival images are given meaning. Throughout, Davis demonstrates how Cypriots navigate the tension between an ethics of knowledge, which valorizes truth as a prerequisite for recovery and reconciliation, and thTrade Review“Artifactual is a brilliant exploration of knowledge production through forensic science and documentary filmmaking in postwar Cyprus. Raising penetrating questions about knowledge and the making of truth and evidence in anthropology, Elizabeth Anne Davis makes significant contributions to the anthropologies of missing persons, forensics, and visual anthropology.” -- Yael Navaro, author of * The Make-Believe Space: Affective Geography in a Postwar Polity *“The truth in situations of deep conflict may be impossibly elusive, yet people are often forced to reconcile with that opacity. In this beautiful and sensitive book, Elizabeth Anne Davis explores the reckoning with historical violence staged by forensic and documentary knowledge. Exhumed bones and archival images cannot settle a haunted past. But, as Davis shows, these artifacts and those who work with them can achieve something difficult and profound, marking out paths toward a plausible future.” -- Anand Pandian, author of * A Possible Anthropology: Methods for Uneasy Times *Table of ContentsAcknowledgments xiii Prologue. Nobody Knows a Thing xix Introduction. Artifactual 1 1. Forensic 45 2. Documentary 173 Epilogue. Our Own Ghosts 287 Appendix. Archive 299 Notes 305 Filmography 337 References 339 Index 353
£80.75
Duke University Press American Game Studies
Book Synopsis
£10.99
New York University Press Streaming Video
Book SynopsisAn international team of experts explores how streaming services are disrupting traditional storytelling.The rise of streaming has dramatically transformed how audiences consume media. Over the last decade, subscription video-on-demand (SVOD) services, including Netflix, Prime Video, and Disney+, have begun commissioning and financing their own original movies and TV shows, changing the way and the rate at which content is produced across the globe, from Mexico City to Mumbai. Streaming Video maps this international production boom and what it means for producers, audiences, and storytellers. Through eighteen richly textured case studies, ranging from original Korean dramas on Netflix to BluTV's experimental Turkish series, the book investigates how streaming services both disrupt and maintain storytelling traditions in specific national contexts. To what extent, and how, are streamers expanding norms of television and film storytelling in different parts oTrade ReviewReveals the power of subscription video-on-demand (SVOD) services to commission stories that matter, and highlights Lotz and Lobato’s prowess in commissioning cutting-edge, impactful research. The chapters they have collected in this book are essential reading for anyone serious about contemporary media industries and global production cultures. * Derek Johnson, University of Wisconsin–Madison *If you really want to understand the impact of SVOD on contemporary global culture, then read this book. Streaming Video unpacks the complex interplay of the national and the global that underpins SVOD’s impact on storytelling practices. It offers a truly international perspective—with case studies from Europe, Asia, Africa, Latin America, and the Middle East chosen by leading and emerging scholars—that expands the scope and scale of contemporary studies of streaming media. * Catherine Johnson, author of Online TV *
£22.79
Stanford University Press Arabic Glitch: Technoculture, Data Bodies, and
Book SynopsisArabic Glitch explores an alternative origin story of twenty-first century technological innovation in digital politics—one centered on the Middle East and the 2011 Arab uprisings. Developed from an archive of social media data collected over the decades following the 2003 U.S. invasion of Iraq, this book interrogates how the logic of programming technology influences and shapes social movements. Engaging revolutionary politics, Arab media, and digital practice in form, method, and content, Laila Shereen Sakr formulates a media theory that advances the concept of the glitch as a disruptive media affordance. She employs data analytics to analyze tweets, posts, and blogs to describe the political culture of social media, and performs the results under the guise of the Arabic-speaking cyborg VJ Um Amel. Playing with multiple voices that span across the virtual and the real, Sakr argues that there is no longer a divide between the virtual and embodied: both bodies and data are physically, socially, and energetically actual. Are we cyborgs or citizens—or both? This book teaches us how a region under transformation became a vanguard for new thinking about digital systems: the records they keep, the lives they impact, and how to create change from within.Trade Review"Innovative and original, Arabic Glitch interrupts the theoretical silence around Arab technocultures. Channeling the academic, artistic, activist, and technologist, Laila Shereen Sakr embodies the contemporary hybridity of Arab cultural production, inaugurating a rightful place for it in the canon."—Adel Iskandar, Simon Fraser University"Laila Shereen Sakr's breathtaking work will transform how the social sciences and humanities understand cyber-activism, transnational solidarity, and collective power. Arabic Glitch is the book interdisciplinary scholars and activists across the world have been waiting for."—Nadine Naber, University of Illinois at Chicago"Laila Shereen Sakr and her avatar, VJ Um Amel, embrace the glitch—clouds of unknowing, slippery loops, cracks and failures of systems—to better see the materiality of technology, power, and revolution. Aligning theory and practice, installation and performance, Sakr mobilizes media art and digital activist scenes across the Middle East, North Africa, and the internet."—Alexandra Juhasz, Brooklyn College CUNY"Arabic Glitch is an essential addition to the critical discourse on power and surveillance in the age of the internet. Laila Shereen Sakr decodes the specificity of language and cultural identity on digital praxis, boldly articulating how digital data can enable a distinct form of ocular awareness."—Dr. Omar Kholeif, author of Internet_Art: From the Birth of the Web to the Rise of NFTsTable of ContentsIntroduction: A Posthuman Techno-Feminist Praxis One: Glitch in the Age of Technoculture Two: Arab Data Bodies Three: Digital Activism Four: Aggregation as Archive Five: Art Practice Conclusion: Fix Your Own Democracy
£60.80
Stanford University Press Arabic Glitch: Technoculture, Data Bodies, and
Book SynopsisArabic Glitch explores an alternative origin story of twenty-first century technological innovation in digital politics—one centered on the Middle East and the 2011 Arab uprisings. Developed from an archive of social media data collected over the decades following the 2003 U.S. invasion of Iraq, this book interrogates how the logic of programming technology influences and shapes social movements. Engaging revolutionary politics, Arab media, and digital practice in form, method, and content, Laila Shereen Sakr formulates a media theory that advances the concept of the glitch as a disruptive media affordance. She employs data analytics to analyze tweets, posts, and blogs to describe the political culture of social media, and performs the results under the guise of the Arabic-speaking cyborg VJ Um Amel. Playing with multiple voices that span across the virtual and the real, Sakr argues that there is no longer a divide between the virtual and embodied: both bodies and data are physically, socially, and energetically actual. Are we cyborgs or citizens—or both? This book teaches us how a region under transformation became a vanguard for new thinking about digital systems: the records they keep, the lives they impact, and how to create change from within.Trade Review"Innovative and original, Arabic Glitch interrupts the theoretical silence around Arab technocultures. Channeling the academic, artistic, activist, and technologist, Laila Shereen Sakr embodies the contemporary hybridity of Arab cultural production, inaugurating a rightful place for it in the canon."—Adel Iskandar, Simon Fraser University"Laila Shereen Sakr's breathtaking work will transform how the social sciences and humanities understand cyber-activism, transnational solidarity, and collective power. Arabic Glitch is the book interdisciplinary scholars and activists across the world have been waiting for."—Nadine Naber, University of Illinois at Chicago"Laila Shereen Sakr and her avatar, VJ Um Amel, embrace the glitch—clouds of unknowing, slippery loops, cracks and failures of systems—to better see the materiality of technology, power, and revolution. Aligning theory and practice, installation and performance, Sakr mobilizes media art and digital activist scenes across the Middle East, North Africa, and the internet."—Alexandra Juhasz, Brooklyn College CUNY"Arabic Glitch is an essential addition to the critical discourse on power and surveillance in the age of the internet. Laila Shereen Sakr decodes the specificity of language and cultural identity on digital praxis, boldly articulating how digital data can enable a distinct form of ocular awareness."—Dr. Omar Kholeif, author of Internet_Art: From the Birth of the Web to the Rise of NFTsTable of ContentsIntroduction: A Posthuman Techno-Feminist Praxis One: Glitch in the Age of Technoculture Two: Arab Data Bodies Three: Digital Activism Four: Aggregation as Archive Five: Art Practice Conclusion: Fix Your Own Democracy
£19.79
University of Minnesota Press Sensations of History: Animation and New Media
Book SynopsisA phenomenological investigation into new media artwork and its relationship to history What does it mean to live in an era of emerging digital technologies? Are computers really as antihistorical as they often seem? Drawing on phenomenology’s investigation of time and history, Sensations of History uses encounters with new media art to inject more life into these questions, making profound contributions to our understanding of the digital age in the larger scope of history.Sensations of History combines close textual analysis of experimental new media artworks with in-depth discussions of key texts from the philosophical tradition of phenomenology. Through this inquiry, author James J. Hodge argues for the immense significance of new media art in examining just what historical experience means in a digital age. His beautiful, aphoristic style demystifies complex theories and ideas, making perplexing issues feel both graspable and intimate.Highlighting underappreciated, vibrant work in the fields of digital art and video, Sensations of History explores artists like Paul Chan, Phil Solomon, John F. Simon, and Barbara Lattanzi. Hodge’s provocative interpretations, which bring these artists into dialogue with well-known works, are perfect for scholars of cinema, media studies, art history, and literary studies. Ultimately, Sensations of History presents the compelling case that we are not witnessing the end of history—we are instead seeing its rejuvenation in a surprising variety of new media art.Trade Review"‘Time,’ wrote Gilles Deleuze, ‘takes thought.’ Sensations of History brilliantly lays out a new domain of temporal analysis, tracking how mediatic dimensions of time are at once enmeshed in and explicated by events of history. In a tour de force analysis of what can only be sensed in animation, James J. Hodge lets the other shoe drop: ‘History now takes animation.’"—Thomas Lamarre, author of The Anime Ecology"Sensations of History challenges common claims about the ahistorical tendencies of media, contending that digital artifacts are crucial to understanding historical experience in the twenty-first century. James J. Hodge supports this argument through original analyses of computational artworks, spambots, videogames, machinima films, and e-poetry. Throughout this book, thought-provoking encounters with digital media are also attempts to face a history characterized by deep opacity and multilayered ambivalence."—Patrick Jagoda, author of Network Aesthetics"In a sophisticated and much-needed challenge to entrenched notions that digital media is ahistorical, James J. Hodge urges readers to address digital inscription as ‘digital experience,’ contending that we urgently need to understand digital media’s fundamental transformation of history as an opportunity rather than a loss—as an aesthetic enrichment and sensory intensification of historical experience itself."—Mark B. N. Hansen, Duke University"In Hodge’s view, the old and the new do not belong to the same category, perhaps not even to the same world: the digital is not the antithesis of the old, it is really something different. The superbly analyzed new media art examples demonstrate though that these various and contradictory sensations and experiences of history do not end up in silence of muteness. Humans adapt to the technological world which is always ‘already there’ and they ceaselessly express, reshape, and reinvent their being in time."—Leonardo Reviews"Balancing this interdisciplinary scope with precise theoretical interventions, and doing so in a manner that is consistently rigorous, engaging, and accessible, it is not exaggerated to say that this is a truly profound step towards the articulation of a much needed theory of the historical aesthetics of encounter."—Critical Inquiry"Sensations of History: Animation and New Media Art is a theoretically intense reading of contemporary scholarship on digital media, animation, inscription, and the meanings of historical experience."—Historical Journal of Film, Radio and Television "Hodge provides a detailed roadmap for future scholarship, not only on history and “new” media, but also and more generally on the complex intersections of computational processes and human experiences."—InVisible Culture
£20.69
University of Minnesota Press Piotr Szyhalski: We Are Working All the Time!
Book SynopsisThe first comprehensive study of this innovative and interactive multimedia artist The artistic practice of Piotr Szyhalski encompasses an impressive array of media and genres: from poster design to experimental music, from interactive web-based art to large-scale conceptual installations, from public performance to innovative pedagogy. His commitment to viewer engagement with art and meaning making characterizes all of his work, which constantly strives to advance the multiplicities and complexities of our understandings. “We Are Working All the Time!” he proclaims, both in his graphic design and in his thematic approach to interactive art.Born and trained in Poland, Szyhalski is a vital presence in the Twin Cities. A professor of design and new media art at the Minneapolis College of Art and Design and a codirector of Art(ists) On the Verge, his art and performance push boundaries, embrace contradictions, and welcome participation. This midcareer survey of the work of this iconoclastic visual artist accompanies an exhibition of his art at the Weisman Art Museum in 2020.Contributors: Karine Léonard Brouillet, Montreal Museum of Fine Art; Emily Ruth Capper, U of Minnesota; Steve Dietz, Northern Lights.mn; Theresa Downing, U of Minnesota; Michael Gallope, U of Minnesota.
£30.60
University of Minnesota Press Arte Programmata: Freedom, Control, and the
Book SynopsisTracing the evolution of the Italian avant-garde’s pioneering experiments with art and technology and their subversion of freedom and control In postwar Italy, a group of visionary artists used emergent computer technologies as both tools of artistic production and a means to reconceptualize the dynamic interrelation between individual freedom and collectivity. Working contrary to assumptions that the rigid, structural nature of programming limits subjectivity, this book traces the multifaceted practices of these groundbreaking artists and their conviction that technology could provide the conditions for a liberated social life.Situating their developments within the context of the Cold War and the ensuing crisis among the Italian left, Arte Programmata describes how Italy’s distinctive political climate fueled the group’s engagement with computers, cybernetics, and information theory. Creating a broad range of immersive environments, kinetic sculptures, domestic home goods, and other multimedia art and design works, artists such as Bruno Munari, Enzo Mari, and others looked to the conceptual frameworks provided by this new technology to envision a way out of the ideological impasses of the age.Showcasing the ingenuity of Italy’s earliest computer-based art, this study highlights its distinguishing characteristics while also exploring concurrent developments across the globe. Centered on the relationships between art, technology, and politics, Arte Programmata considers an important antecedent to the digital age. Trade Review "Lindsay Caplan’s Arte Programmata offers a compelling account of a group of lesser-known artists affiliated with the Italian Arte Programmata movement, whose experimental art and design practices, emerging in the nascent years of computerization, pointedly (and presciently) engaged with political questions around freedom and control, individuality and collectivity. Beautifully written, sharply analytic, and free of jargon, Caplan’s incisive study should find a place on the bookshelves of anyone interested in the roots and impacts of technological change."—Janet Kraynak, author of Contemporary Art and the Digitization of Everyday Life "Arte Programmata forces us to reconsider ossified ideas about the relationship between politics and aesthetics by asking us to think seriously about what we mean when we reflexively invoke concepts such as resistance, subversion, and negation to understand radical art and design practices. In doing so, Lindsay Caplan disrupts the categories and boundaries circumscribing art history’s presumed objects and methods. Here, art, design, theory, and politics comingle in new ways that allow us to see the continuing relevance of a particular strand of Italian art and design while also inspiring readers to reconsider their own assumptions about the many forms freedom might take in both our intellectual work and our lives."—Larry D. Busbea, author of The Responsive Environment: Design, Aesthetics, and the Human in the 1970s "Arte Programmata is simultaneously revolutionary and pragmatic."—Jan Baetens, Leonardo Reviews "This book is a rich and sophisticated narrative of the unfolding of Arte Programmata during the decade of the 1960s."—Ian Verstegen, Leonardo Reviews "Arte Programmata provides a nuanced, incisive window into the ways in which artists grappled with arrival of computing technology in postwar Italy. "—Critical Inquiry "Well-written and relatively jargon-free, Arte Programmata is a welcome addition to the growing literature on the intersection of art and technology (and artists and engineers)."—Technology and Culture "A carefully reconstructed history, focusing on the political dimension and context in which the left, Eco’s ‘open work,’ and early computer art flourished in the same spaces."—Neural
£94.40
University of Minnesota Press People, Practice, Power: Digital Humanities
Book SynopsisAn illuminating volume of critical essays charting the diverse territory of digital humanities scholarship The digital humanities have traditionally been considered to be the domain of only a small number of prominent and well-funded institutions. However, through a diverse range of critical essays, this volume serves to challenge and enlarge existing notions of how digital humanities research is being undertaken while also serving as a kind of alternative guide for how it can thrive within a wide variety of institutional spaces. Focusing on the complex infrastructure that undergirds the field of digital humanities, People, Practice, Power examines the various economic, social, and political factors that shape such academic endeavors. The multitude of perspectives comprising this collection offers both a much-needed critique of the existing structures for digital scholarship and the means to generate broader representation within the field. This collection provides a vital contribution to the realm of digital scholarly research and pedagogy in acknowledging the role that small liberal arts colleges, community colleges, historically black colleges and universities, and other underresourced institutions play in its advancement. Gathering together a range of voices both established and emergent, People, Practice, Power offers practitioners a self-reflexive examination of the current conditions under which the digital humanities are evolving, while helping to open up new sustainable pathways for its future. Contributors: Matthew Applegate, Molloy College; Taylor Arnold, U of Richmond; Eduard Arriaga, U of Indianapolis; Lydia Bello, Seattle U; Kathi Inman Berens, Portland State U; Christina Boyles, Michigan State U; Laura R. Braunstein, Dartmouth College; Abby R. Broughton; Maria Sachiko Cecire, Bard College; Brennan Collins, Georgia State U; Kelsey Corlett-Rivera, U of Maryland; Brittany de Gail, U of Maryland; Madelynn Dickerson, UC Irvine Libraries; Nathan H. Dize, Vanderbilt U; Quinn Dombrowski, Stanford U; Ashley Sanders Garcia, UCLA; Laura Gerlitz; Erin Rose Glass; Kaitlyn Grant; Margaret Hogarth, Claremont Colleges; Maryse Ndilu Kiese, U of Alberta; Pamella R. Lach, San Diego State U; James Malazita, Rensselaer Polytechnic Institute; Susan Merriam, Bard College; Chelsea Miya, U of Alberta; Jamila Moore Pewu, California State U, Fullerton; Urszula Pawlicka-Deger, Aalto U, Finland; Jessica Pressman, San Diego State U; Jana Remy, Chapman U; Roopika Risam, Salem State U; Elizabeth Rodrigues, Grinnell College; Dylan Ruediger, American Historical Association; Rachel Schnepper, Wesleyan U; Anelise Hanson Shrout, Bates College; Margaret Simon, North Carolina State U; Mengchi Sun, U of Alberta; Lauren Tilton, U of Richmond; Michelle R. Warren, Dartmouth College. Table of ContentsContentsIntroductionAnne McGrail, Angel David Nieves, and Siobhan SenierPart I. Beyond the Digital Humanities Center: Historical Perspectives and New Models1. Epistemic Infrastructure, the Instrumental Turn, and the Digital HumanitiesJames Malazita2. Reprogramming the Invisible Discipline: An Emancipatory Approach to Digital Technology through Higher EducationErin Rose Glass3. What’s in a Name?Lauren Tilton and Taylor Arnold4. Laboratory: A New Space in Digital HumanitiesUrszula Pawlicka-Deger5. Zombies in the Library StacksLaura R. Braunstein and Michelle R. Warren6. The Directory ParadoxQuinn Dombrowski7. Custom-Built DH and Institutional Culture: The Case of Experimental HumanitiesMaria Sachiko Cecire and Susan Merriam8. Intersectionality and Infrastructure: Toward a Critical Digital HumanitiesChristina BoylesPart II. Human Infrastructures: Labor Considerations and Communities of Practice9. In Service of Pedagogy: A Colony in Crisis and the Digital Humanities CenterKelsey Corlett-Rivera, Nathan H. Dize, Abby R. Broughton, and Brittany de Gail10. A “No Tent” / No Center Model for Digital Work in the HumanitiesBrennan Collins and Dylan Ruediger11. After Autonomy: Digital Humanities Practices in Small Liberal Arts Colleges and Higher Education as CollaborationElizabeth Rodrigues and Rachel Schnepper12. Epistemological Inclusion in the Digital Humanities: Expanded Infrastructure in Service-Oriented Universities and Community OrganizationsEduard Arriaga13. Digital Infrastructures: People, Place, and Passion—Case Study of San Diego State UniversityPamella R. Lach and Jessica Pressman14. Building a DIY Community of PracticeAshley Sanders Garcia, Lydia Bello, Madelynn Dickerson, Margaret Hogarth15. More Than Respecting Medium Specificity: An Argument for Web-Based Portfolios for Promotion and TenureJana Remy16. Is Digital Humanities Adjuncting Infrastructurally Significant?Kathi Inman BerensPart III. Pedagogy: Vulnerability, Collaboration, and Resilience17. Access, Touch, and Human Infrastructures in Digital PedagogyMargaret Simon18. Manifesto for Student-Driven Research and LearningChelsea Miya, Laura Gerlitz, Kaitlyn Grant, Maryse Ndilu Kiese, Mengchi Sun, and Christina Boyles19. Centering First-Generation Students in the Digital HumanitiesJamila Moore Pewu and Anelise Hanson Shrout20. Stewarding Place: Digital Humanities at the Regional Comprehensive UniversityRoopika Risam21. Digital Humanities as Critical University Studies: Three ProvocationsMatthew ApplegateContributors
£100.00
University of Minnesota Press People, Practice, Power: Digital Humanities
Book SynopsisAn illuminating volume of critical essays charting the diverse territory of digital humanities scholarship The digital humanities have traditionally been considered to be the domain of only a small number of prominent and well-funded institutions. However, through a diverse range of critical essays, this volume serves to challenge and enlarge existing notions of how digital humanities research is being undertaken while also serving as a kind of alternative guide for how it can thrive within a wide variety of institutional spaces. Focusing on the complex infrastructure that undergirds the field of digital humanities, People, Practice, Power examines the various economic, social, and political factors that shape such academic endeavors. The multitude of perspectives comprising this collection offers both a much-needed critique of the existing structures for digital scholarship and the means to generate broader representation within the field. This collection provides a vital contribution to the realm of digital scholarly research and pedagogy in acknowledging the role that small liberal arts colleges, community colleges, historically black colleges and universities, and other underresourced institutions play in its advancement. Gathering together a range of voices both established and emergent, People, Practice, Power offers practitioners a self-reflexive examination of the current conditions under which the digital humanities are evolving, while helping to open up new sustainable pathways for its future. Contributors: Matthew Applegate, Molloy College; Taylor Arnold, U of Richmond; Eduard Arriaga, U of Indianapolis; Lydia Bello, Seattle U; Kathi Inman Berens, Portland State U; Christina Boyles, Michigan State U; Laura R. Braunstein, Dartmouth College; Abby R. Broughton; Maria Sachiko Cecire, Bard College; Brennan Collins, Georgia State U; Kelsey Corlett-Rivera, U of Maryland; Brittany de Gail, U of Maryland; Madelynn Dickerson, UC Irvine Libraries; Nathan H. Dize, Vanderbilt U; Quinn Dombrowski, Stanford U; Ashley Sanders Garcia, UCLA; Laura Gerlitz; Erin Rose Glass; Kaitlyn Grant; Margaret Hogarth, Claremont Colleges; Maryse Ndilu Kiese, U of Alberta; Pamella R. Lach, San Diego State U; James Malazita, Rensselaer Polytechnic Institute; Susan Merriam, Bard College; Chelsea Miya, U of Alberta; Jamila Moore Pewu, California State U, Fullerton; Urszula Pawlicka-Deger, Aalto U, Finland; Jessica Pressman, San Diego State U; Jana Remy, Chapman U; Roopika Risam, Salem State U; Elizabeth Rodrigues, Grinnell College; Dylan Ruediger, American Historical Association; Rachel Schnepper, Wesleyan U; Anelise Hanson Shrout, Bates College; Margaret Simon, North Carolina State U; Mengchi Sun, U of Alberta; Lauren Tilton, U of Richmond; Michelle R. Warren, Dartmouth College. Table of ContentsContentsIntroductionAnne McGrail, Angel David Nieves, and Siobhan SenierPart I. Beyond the Digital Humanities Center: Historical Perspectives and New Models1. Epistemic Infrastructure, the Instrumental Turn, and the Digital HumanitiesJames Malazita2. Reprogramming the Invisible Discipline: An Emancipatory Approach to Digital Technology through Higher EducationErin Rose Glass3. What’s in a Name?Lauren Tilton and Taylor Arnold4. Laboratory: A New Space in Digital HumanitiesUrszula Pawlicka-Deger5. Zombies in the Library StacksLaura R. Braunstein and Michelle R. Warren6. The Directory ParadoxQuinn Dombrowski7. Custom-Built DH and Institutional Culture: The Case of Experimental HumanitiesMaria Sachiko Cecire and Susan Merriam8. Intersectionality and Infrastructure: Toward a Critical Digital HumanitiesChristina BoylesPart II. Human Infrastructures: Labor Considerations and Communities of Practice9. In Service of Pedagogy: A Colony in Crisis and the Digital Humanities CenterKelsey Corlett-Rivera, Nathan H. Dize, Abby R. Broughton, and Brittany de Gail10. A “No Tent” / No Center Model for Digital Work in the HumanitiesBrennan Collins and Dylan Ruediger11. After Autonomy: Digital Humanities Practices in Small Liberal Arts Colleges and Higher Education as CollaborationElizabeth Rodrigues and Rachel Schnepper12. Epistemological Inclusion in the Digital Humanities: Expanded Infrastructure in Service-Oriented Universities and Community OrganizationsEduard Arriaga13. Digital Infrastructures: People, Place, and Passion—Case Study of San Diego State UniversityPamella R. Lach and Jessica Pressman14. Building a DIY Community of PracticeAshley Sanders Garcia, Lydia Bello, Madelynn Dickerson, Margaret Hogarth15. More Than Respecting Medium Specificity: An Argument for Web-Based Portfolios for Promotion and TenureJana Remy16. Is Digital Humanities Adjuncting Infrastructurally Significant?Kathi Inman BerensPart III. Pedagogy: Vulnerability, Collaboration, and Resilience17. Access, Touch, and Human Infrastructures in Digital PedagogyMargaret Simon18. Manifesto for Student-Driven Research and LearningChelsea Miya, Laura Gerlitz, Kaitlyn Grant, Maryse Ndilu Kiese, Mengchi Sun, and Christina Boyles19. Centering First-Generation Students in the Digital HumanitiesJamila Moore Pewu and Anelise Hanson Shrout20. Stewarding Place: Digital Humanities at the Regional Comprehensive UniversityRoopika Risam21. Digital Humanities as Critical University Studies: Three ProvocationsMatthew ApplegateContributors
£26.99
University of Minnesota Press Operational Images: From the Visual to the
Book SynopsisAn in-depth look into the transformation of visual culture and digital aesthetics First introduced by the German filmmaker Harun Farocki, the term operational images defines the expanding field of machine vision. In this study, media theorist Jussi Parikka develops Farocki’s initial concept by considering the extent to which operational images have pervaded today’s visual culture, outlining how data technologies continue to develop and disrupt our understanding of images beyond representation.Charting the ways that operational images have been employed throughout a variety of fields and historical epochs, Parikka details their many roles as technologies of analysis, capture, measurement, diagramming, laboring, (machine) learning, identification, tracking, and destruction. He demonstrates how, though inextricable from issues of power and control, operational images extend their reach far beyond militaristic and colonial violence and into the realms of artificial intelligence, data, and numerous aspects of art, media, and everyday visual culture.Serving as an extensive guide to a key concept in contemporary art, design, and media theory, Operational Images explores the implications of machine vision and the limits of human agency. Through a wealth of case studies highlighting the areas where imagery and data intersect, this book gives us unprecedented insight into the ever-evolving world of posthuman visuality. Cover alt text: Satellite photo on which white title words appear in yellow boxes. Yellow lines connect the boxes.Trade Review "What is the work of the image in an age of algorithmic production? The very idea of an 'image' is bound inextricably with how we make and reproduce them, with who and what interprets them, and for what ends. What happens when images pass beyond representation and even human visual senses? What is visual culture when most optical traces are generated by and for machines to interpret and operationalize? Jussi Parikka's masterful and concise book is a decisive moment in the study of 'ways of seeing' that goes beyond the standard anthropocentric tales of art history. Refreshingly, it forces us to see seeing in a whole new light."—Benjamin Bratton, University of California, San Diego "This book offers a crucial study of the ‘operational image,’ revealing the complex relations that shape and surface in images that may not appear to be very interesting. Jussi Parikka’s evocative writing and juggling of topics—from artificial intelligence to remote sensing to lidar—is bound to spark thought and action in media studies and beyond."—Lisa Parks, University of California, Santa Barbara
£83.20
University of Minnesota Press Operational Images: From the Visual to the
Book SynopsisAn in-depth look into the transformation of visual culture and digital aesthetics First introduced by the German filmmaker Harun Farocki, the term operational images defines the expanding field of machine vision. In this study, media theorist Jussi Parikka develops Farocki’s initial concept by considering the extent to which operational images have pervaded today’s visual culture, outlining how data technologies continue to develop and disrupt our understanding of images beyond representation.Charting the ways that operational images have been employed throughout a variety of fields and historical epochs, Parikka details their many roles as technologies of analysis, capture, measurement, diagramming, laboring, (machine) learning, identification, tracking, and destruction. He demonstrates how, though inextricable from issues of power and control, operational images extend their reach far beyond militaristic and colonial violence and into the realms of artificial intelligence, data, and numerous aspects of art, media, and everyday visual culture.Serving as an extensive guide to a key concept in contemporary art, design, and media theory, Operational Images explores the implications of machine vision and the limits of human agency. Through a wealth of case studies highlighting the areas where imagery and data intersect, this book gives us unprecedented insight into the ever-evolving world of posthuman visuality. Cover alt text: Satellite photo on which white title words appear in yellow boxes. Yellow lines connect the boxes.Trade Review "What is the work of the image in an age of algorithmic production? The very idea of an 'image' is bound inextricably with how we make and reproduce them, with who and what interprets them, and for what ends. What happens when images pass beyond representation and even human visual senses? What is visual culture when most optical traces are generated by and for machines to interpret and operationalize? Jussi Parikka's masterful and concise book is a decisive moment in the study of 'ways of seeing' that goes beyond the standard anthropocentric tales of art history. Refreshingly, it forces us to see seeing in a whole new light."—Benjamin Bratton, University of California, San Diego "This book offers a crucial study of the ‘operational image,’ revealing the complex relations that shape and surface in images that may not appear to be very interesting. Jussi Parikka’s evocative writing and juggling of topics—from artificial intelligence to remote sensing to lidar—is bound to spark thought and action in media studies and beyond."—Lisa Parks, University of California, Santa Barbara
£22.49
University of Minnesota Press Technics Improvised: Activating Touch in Global
Book SynopsisSeeing new media art as an entry point for better understanding of technology and worldmaking futures In this challenging work, a leading authority on new media art examines that curatorial and aesthetic landscape to explore how art resists and rewires the political and economic structures that govern technology. How do inventive combinations of artistic and theoretical improvisation counter the extent to which media art remains at risk, not just from the quarantines of a global pandemic but also from the very viral and material conditions of technology? How does global media art speak back to the corporate closures of digital euphoria as clothed in strategies of digital surveillance, ecological deprivation, and planned obsolescence? In Technics Improvised, Timothy Murray asks these questions and more. At the intersection of global media art, curatorial practice, tactical media, and philosophy, Murray reads a wide range of creative performances and critical texts that envelop artistic and digital materials in unstable, political relations of touch, body, archive, exhibition, and technology. From video to net art and interactive performance, he considers both canonical and unheralded examples of activist technics that disturb the hegemony of biopolitical/digital networks by staging the very touch of the unsettling discourse erupting from within. In the process, critical dialogues emerge between a wide range of artists and theorists, from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien, Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy, Elizabeth Povinelli, Jean-François Lyotard, Erin Manning, Achille Mbembe, and Samuel Weber.Brilliantly conceived and argued and eloquently written, Technics Improvised points the way to how artistic and theoretical practice can seize on the improvisational accidents of technics to activate creativity, thought, and politics anew.Trade Review"In this moment when quarantines, lockdowns, masking, and social distancing regulations put a premium on the haptic, Timothy Murray’s book showcases the aesthetic exuberance and technical mastery of cutting-edge media artists who touch us through our screens. Tactical as well as tactile, touch, for Murray, is both active and activist—feminist, queer, anti-racist, anti-colonial, and anti-capitalist. Drawing from decades of theorizing, critiquing, researching, curating, and archiving at the intersection of the digital and the performative, Murray argues for the essential significance of the improvisational turn from Hong Kong, Singapore, Taiwan, South Korea, the Philippines, India, Palestine, Australia, Bolivia, and Ghana to New York and far beyond. Murray introduces us to a world of media artists to embrace… if only virtually." —Gina Marchetti, author of Citing China: Politics, Postmodernism, and World Cinema "In Technics Improvised, Timothy Murray brings together, revises, and remediates previously published essays, improvising an epistemological reading of five decades of what he terms new media art’s ‘incorporeal materiality.’ The first-person perspective Murray brings to his subject matter is invaluable: it reflects his participation-observation in the archive that he dis/assembles, his activating work against the enclosure of ‘new media’ as historical object." —Amy Sara Carroll, author of REMEX: Toward an Art History of the NAFTA Era "Murray uses his book to introduce artists working in digital and electronic media and traces their struggle against the government surveillance and corporate culture that control digital tools." —Cornell ChronicleTable of ContentsPrefaceProlegomenon: When the Future Ain’t What It Used to Be, or New Media at Risk and the Improvisations of Art Part I. Activating Technics through Emergent Media1. Tactical Tools: From Fantasy of the Open to Networked Activism2. Ecotechnic Touch: Thinking Technics with Jean-Luc Nancy and Ryoji Ikeda 3. Archival Events: Situated Surfaces of New Medialized ArtPart Two. Critical Performance and the Temporality of Touch4. Clones: Genomic Simulacra in the Age of Recombinant Bodies5. Like a Prosthesis: Critical Performance @ Digital Deleuze6. Futurities, Uncertain: Screening Theatrical PhantasmsEpilogue. Future Fever, the Exposition: Ten Epistemological FictionsAcknowledgmentsNotesPublication HistoryIndex
£80.00
University of Minnesota Press Technics Improvised: Activating Touch in Global
Book SynopsisSeeing new media art as an entry point for better understanding of technology and worldmaking futures In this challenging work, a leading authority on new media art examines that curatorial and aesthetic landscape to explore how art resists and rewires the political and economic structures that govern technology. How do inventive combinations of artistic and theoretical improvisation counter the extent to which media art remains at risk, not just from the quarantines of a global pandemic but also from the very viral and material conditions of technology? How does global media art speak back to the corporate closures of digital euphoria as clothed in strategies of digital surveillance, ecological deprivation, and planned obsolescence? In Technics Improvised, Timothy Murray asks these questions and more. At the intersection of global media art, curatorial practice, tactical media, and philosophy, Murray reads a wide range of creative performances and critical texts that envelop artistic and digital materials in unstable, political relations of touch, body, archive, exhibition, and technology. From video to net art and interactive performance, he considers both canonical and unheralded examples of activist technics that disturb the hegemony of biopolitical/digital networks by staging the very touch of the unsettling discourse erupting from within. In the process, critical dialogues emerge between a wide range of artists and theorists, from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien, Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy, Elizabeth Povinelli, Jean-François Lyotard, Erin Manning, Achille Mbembe, and Samuel Weber.Brilliantly conceived and argued and eloquently written, Technics Improvised points the way to how artistic and theoretical practice can seize on the improvisational accidents of technics to activate creativity, thought, and politics anew.Trade Review"In this moment when quarantines, lockdowns, masking, and social distancing regulations put a premium on the haptic, Timothy Murray’s book showcases the aesthetic exuberance and technical mastery of cutting-edge media artists who touch us through our screens. Tactical as well as tactile, touch, for Murray, is both active and activist—feminist, queer, anti-racist, anti-colonial, and anti-capitalist. Drawing from decades of theorizing, critiquing, researching, curating, and archiving at the intersection of the digital and the performative, Murray argues for the essential significance of the improvisational turn from Hong Kong, Singapore, Taiwan, South Korea, the Philippines, India, Palestine, Australia, Bolivia, and Ghana to New York and far beyond. Murray introduces us to a world of media artists to embrace… if only virtually." —Gina Marchetti, author of Citing China: Politics, Postmodernism, and World Cinema "In Technics Improvised, Timothy Murray brings together, revises, and remediates previously published essays, improvising an epistemological reading of five decades of what he terms new media art’s ‘incorporeal materiality.’ The first-person perspective Murray brings to his subject matter is invaluable: it reflects his participation-observation in the archive that he dis/assembles, his activating work against the enclosure of ‘new media’ as historical object." —Amy Sara Carroll, author of REMEX: Toward an Art History of the NAFTA Era "Murray uses his book to introduce artists working in digital and electronic media and traces their struggle against the government surveillance and corporate culture that control digital tools." —Cornell ChronicleTable of ContentsPrefaceProlegomenon: When the Future Ain’t What It Used to Be, or New Media at Risk and the Improvisations of Art Part I. Activating Technics through Emergent Media1. Tactical Tools: From Fantasy of the Open to Networked Activism2. Ecotechnic Touch: Thinking Technics with Jean-Luc Nancy and Ryoji Ikeda 3. Archival Events: Situated Surfaces of New Medialized ArtPart Two. Critical Performance and the Temporality of Touch4. Clones: Genomic Simulacra in the Age of Recombinant Bodies5. Like a Prosthesis: Critical Performance @ Digital Deleuze6. Futurities, Uncertain: Screening Theatrical PhantasmsEpilogue. Future Fever, the Exposition: Ten Epistemological FictionsAcknowledgmentsNotesPublication HistoryIndex
£21.59
University of Minnesota Press Young-Girls in Echoland: #Theorizing Tiqqun
Book SynopsisWho’s worse, the Young-Girl or the Man-Child? Tiqqun’s Preliminary Materials for a Theory of the Young-Girl is a controversial work of anticapitalist philosophy that has attracted musicians, playwrights, feminist theorists, and men's-rights activists since its publication in 1999. More than twenty years after its publication the international reverberation of Young-Girls shows no signs of weakening. Young-Girls in Echoland: #Theorizing Tiqqun is a guide to this ongoing postdigital conversation, engaging with artworks and textual criticism provoked by Tiqqun’s audacious, arguably misogynistic textual voice. Heather Warren-Crow and Andrea Jonsson show how Tiqqun’s polarizing figure has grown and matured but also stayed unapologetically girly in the works of artists and scholars discussed here. Rethinking the myth of Echo and Narcissus by performing a different kind of listening, they take us on a journey from VSCO girls to basic bitches to vampires.With an ear for the sound of Tiqqun’s polemic and its ensemble of Anglophone and Francophone rejoinders, Young-Girls in Echoland offers a model for analyzing the call-and-response of pop philosophy and for hearing the affective rhythms of communicative capitalism.Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.Table of ContentsContentsIntroduction: Garbage-Core Is My Favorite Kind of Music1. Iteration2. Orality3. Conclusion, or Fucking UpAcknowledgments
£9.00
University of Minnesota Press Interactive Cinema
Book SynopsisConnecting interactive cinema to media ethics and global citizenship Interactive Cinema explores various cinematic practices that work to transform what is often seen as a primarily receptive activity into a participatory, multimedia experience. Surveying a multitude of unorthodox approaches throughout the history of motion pictures, Marina Hassapopoulou offers insight into a range of largely ephemeral and site-specific projects that consciously assimilate viewers into their production. Analyzing examples of early cinema, Hollywood B movies, museum and gallery installations, virtual-reality experiments, and experimental web-based works, Hassapopoulou travels across numerous platforms, highlighting a diverse array of strategies that attempt to unsettle the allegedly passive spectatorship of traditional cinema. Through an exploration of these radically inventive approaches to the medium, many of which emerged out of sociopolitical cri
£84.15
Boydell & Brewer Ltd Expressionist Film -- New Perspectives
Book SynopsisNew essays by leading scholars giving a new picture of the variety of German expressionist cinema. This volume of fresh essays by leading scholars develops a new approach to expressionist film. For nearly half a century Siegfried Kracauer's From Caligari to Hitler and Lotte Eisner's The Haunted Screen have shapedthe understanding of the cinema of this period. However, fifty years on, there is a growing awareness that a new account is overdue. This attempt to rewrite the story of expressionist cinema begins with a fundamentally new interpretation of Dr. Caligari, and together with fresh views of other expressionist classics, offers new perspectives on important alternative film styles and genres that emerged in films by such eminent directors as Ernst Lubitsch, Joe May, Fritz Lang, Karl Grune, F. W. Murnau, and E. A. Dupont. In pursuing such variety, the book strives for a picture of the cinema in the early years of Weimar that in thematic as well as stylistic terms reflects the vibrant, multifaceted cultural and political developments of the period. The book is a joint venture of the Centre for European Film Studies at the University of Edinburgh, the Institute for Film Studies at the University of Mainz, and the German Film Museum in Frankfurt. The late Dietrich Scheunemann was Professor of German at the University of Edinburgh and wrote and edited several books on German literature and on film and media.Trade ReviewWith a nod to the pioneering work of Siegfried Kracauer and Lotte Eisner, [the book] proposes to overcome the reductive tendencies of their scholarship with a historiography that emphasizes complex and asynchronous historical developments.... * GERMAN QUARTERLY *Among the collection's greatest strengths are the reassessment of the maddeningly elusive category of 'expressionist' film - the editor should be commended for his insistence on giving more nuance and specificity to the term - and the vibrant mix of genre discussions from horror and fantasy and the so-called 'street films' to early historical dramas and the avant-garde film. * MONATSHEFTE *
£27.89
Boydell & Brewer Ltd Envisioning Social Justice in Contemporary German
Book SynopsisExplores how contemporary German-language literary, dramatic, filmic, musical, and street artists are grappling in their works with social-justice issues that affect Germany and the wider world. Social-injustice dilemmas such as poverty, unemployment, and racism are subjects of continuing debate in European societies and in Germany in particular, as solutions are difficult and progress often comes slowly. Such discussionsare not limited to opposing newspaper editorials, position papers, or legislative forums, however; creative works expound on these topics as well, but their contributions to the debate are often marginalized. This collectionof new essays explores how contemporary German-language literary, dramatic, filmic, musical, and street artists are grappling with social-justice issues that affect Germany and the wider world, surveying more than a decade's worth of works of German literature and art in light of the recent paradigm shift in cultural criticism called the "ethical turn." Central themes include the legacy of the politically engaged 1968 generation, eastern Germany and the process of unification, widening economic disparity as a result of political policies and recession, and problems of integration and inclusivity for ethnic and religious minorities as migration to Germany has increased. Contributors: Monika Albrecht, Olaf Berwald, Robert Blankenship, Laurel Cohen-Pfister, Jack Davis, Bastian Heinsohn, Axel Hildebrandt, Deborah Janson, Karolin Machtans, Ralf Remshardt, Alexandra Simon-López, Patricia Anne Simpson,Maria Stehle, Jill E. Twark. Jill E. Twark is Associate Professor of German at East Carolina University. Axel Hildebrandt is Associate Professor of German at Moravian College.Trade Review[N]eatly edited and deftly introduced . . . . [A]n innovative contribution to contemporary German Studies which invites emulation from others. It is not all about literature any more, that is for sure. And there is a sense of ethics at the heart of the state and society at large which is certainly worth studying. -- Julian Preece * JOURNAL OF EUROPEAN STUDIES *[P]resents detailed and thought-provoking close readings . . . . The discussed works of German-speaking authors, artists and scholars show the . . . social problems that linger in post-wall Germany, notwithstanding its recovered economy. The book reveals these unresolved problems to a wider global audience and will undoubtedly stimulate further investigations in that direction. -- Angela Vaupel * JOURNAL OF CONTEMPORARY EUROPEAN STUDIES *Ambitious in scope, this innovative interdisciplinary book provides a valuable resource for scholars and students of German studies and a timely contribution to discussions of ethics and social justice. It intervenes in signiificant ways in current debates on immigration, integration, and the rise of Islamophobia in Germany and Europe. -- Valentina Glajar * MONATSHEFTE *Table of ContentsIntroduction - Jill Twark and Axel Hildebrandt On Potatoes, Forgeries, Mistaken Identities, and Cultural Revolution in Uwe Timm's Postwall Novel Johannisnacht - Deborah Janson "Maybe the Genuine Utopia": Uwe Timm's Vision of a "Postsocialist" Society in the Novel Rot - Monika Albrecht Social Injustice in the German Tatort Television Series - Alexandra Simon López Die Toten Hosen, Rammstein, Azad, and Massiv: German Rock and Rap Go Global for Social Justice - Jill Twark Die Toten Hosen, Rammstein, Azad, and Massiv: German Rock and Rap Go Global for Social Justice - Patricia Anne Simpson Critical Voices from the Underground: Street Art and Urban Transformation in Berlin - Bastian Heinsohn Politics and Prekariat in Christoph Hein's Novels Frau Paula Trousseau and Weiskerns Nachlass - Axel Hildebrandt "Erzählt ist erzählt": The Ethics of Narration in Christa Wolf's Stadt der Engel oder The Overcoat of Dr. Freud - Robert Blankenship Social Consciousness in the Bionade-Biedermeier: An Interview with Filmmakers Marc Bauder and Dörte Franke - Laurel Cohen Pfister Through Performance to Social Justice: Schlingensief's Narcissistic Sociality - Jack Davis The Postdramatic Paradox: Theater as an Interventionist Medium in Falk Richter's Das System - Ralf Remshardt Settling in Mobility: Socioeconomic Justice and European Borderlands in Hans-Christian Schmid's Films Lichter and Die wundersame Welt der Waschkraft - Maria Stehle The Ethics of Listening in Dana Ranga's Wasserbuch and Terézia Mora's Das Ungeheuer - Olaf Berwald Navid Kermani: Advocate for an Antipatriotic Patriotism and a Multireligious, Multicultural Europe - Karolin Machtans
£89.25
Getty Trust Publications Encounters in Video Art in Latin America
Book SynopsisWith insightful essays and interviews, this volume examines how artists have experimented with the medium of video across different regions of Latin America since the 1960s. The emergence of video art in Latin America is marked by multiple points of development, across more than a dozen artistic centers, over a period of more than twenty-five years. When it was first introduced during the 1960s, video was seen as empowering: the portability of early equipment and the possibility of instant playback allowed artists to challenge and at times subvert the mainstream media. Video art in Latin America was--and still is--closely related to the desire for social change. Themes related to gender, ethnic, and racial identity as well as the consequences of social inequality and ecological disasters have been fundamental to many artists' practices. This compendium explores the history and current state of artistic experimentation with video throughout Latin America. Departing from the relatively small body of existing scholarship in English, much of which focuses on individual countries, this volume approaches the topic thematically, positioning video artworks from different periods and regions throughout Latin America in dialogue with each other. Organized in four broad sections--Encounters, Networks and Archives, Memory and Crisis, and Indigenous Perspectives--the book's essays and interviews encourage readers to examine the medium of video across varied chronologies and geographies.Trade Review“Encounters in Video Art in Latin America has already emerged as one of the most notable publications on the historical and future paths of video in Latin America. Through essays and interviews permeated by rich images, we enter both broad contextualizations and specific case analyses. The book covers some crucial themes for video on our continent, from the importance of creating and safeguarding collections to examples of contemporary, innovative indigenous video production.”—Solange Farkas, Director and Curator, Associação Cultural Videobrasil
£49.50
Michigan Publishing Services Global Storytelling Vol. 4 No. 1
Book Synopsis
£21.00
Michigan Publishing Services Global Storytelling Vol. 4 No. 2
£13.95
Dartmouth College Press Against Immediacy
Book SynopsisExamines how artists questioned the ways in which the people were ideologically figured by the commercial mass media. Operating at the intersection between art history and media studies, this title connects early video art and the rise of the media screen in gallery-based art to discussions about participation and more.
£64.60
Dartmouth College Press Against Immediacy
Book SynopsisReveals the history of early video art considered in relation to television in the United States during the 1960s and 1970s. This title examines how artists questioned the ways in which the people were ideologically figured by the commercial mass media.
£36.10
Michigan State University Press Violence in the Films of Alfred Hitchcock: A
Book SynopsisParting ways with the Freudian and Lacanian readings that have dominated recent scholarly understanding of Hitchcock, David Humbert examines the roots of violence in the director’s narratives and finds them not in human sexuality but in mimesis.Through an analysis of seven key films, he argues that Girard’s model of mimetic desire - desire oriented by imitation of and competition with others - best explains a variety of well-recognized themes, including the MacGuffin, the double, the innocent victim, the wrong man, the transfer of guilt, and the scapegoat.This study will appeal not only to Hitchcock fans and film scholars but also to those interested in Freud and Girard and their competing theories of desire.
£27.10
Collective Ink Navigating from the White Anthropocene to the
Book SynopsisNavigating from the White Anthropocene to the Black Chthulucene radically re-interprets Buster Keaton's iconic 1924 film, The Navigator, through the combined lenses of posthumanism and critical race theory. This book deconstructs the film's underlying anti-Blackness and anti-Indigeneity while exposing the unthinking whiteness of theorists and philosophers, including Gilles Deleuze, who have given Keaton's work pride of place in the history of cinema. Through its daring and provocative analysis of Keaton's classic, Navigating from the White Anthropocene to the Black Chthulucene invites us to consider cinema itself, at least in its classical narrative form, as a tool for constructing and maintaining white supremacy while building the conceptual tools for a world beyond whiteness.
£17.09
Liverpool University Press Argentine Cinema and National Identity
Book SynopsisAn Open Access edition of this book is available on the Liverpool University Press website and through Knowledge Unlatched.Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, a period that has been understudied. This essential cultural history delves on the dialect tradition versus modernity that was in place during those years and also comprises an examination of the political economy of film production as well as the different laws, including that implementing censorship that regulated this cultural industry. It also pays particular attention to two historical film genres: the historical film genre per se and the gauchesque, a genre based on outlaw gauchos that was crucial for nation-building in the nineteenth century. This volume investigates the way Argentine cinema positioned itself when facing the competition of glossy American films and resorted to the historical and gauchesque to bridge the stark divisions between the Argentine left and right in the late 1960s.Trade ReviewReviews 'Argentine Cinema and National Identity is an extensively researched and well-written book that reconstructs a key period in Argentine history through the lens of a corpus of films that is largely underexplored and overlooked.'Jordana Blejmar, University of Liverpool'Carolina Rocha succeeds in offering fresh insights into cinematic representations of competing visions of Argentine collective identities during a decade characterized by political upheavals that culminated in the brutal dictatorship of 1976. With a keen eye for detail, she never loses sight of the main arguments, which she conveys in a clear and flowing prose.'Raanan Rein, Tel Aviv University'In this ambitious volume, Rocha combines the methodologies of the film scholar and the film historian to examine the Argentine motion-picture industry during a volatile period in the nation’s cultural and political spheres [...] Providing relevant historical context for her observations, Rocha furthers understanding of an understudied period in Argentine cinema.' D. West, CHOICETable of ContentsAcknowledgementsIntroductionSection I: Argentine History and Cinema 1955-1976Chapter 1: Political and Social Tensions in Post 1955 ArgentinaChapter 2: Argentine Cinema in the late 1950s and early 1960sChapter 3: Argentine Cinema 1966-1973Chapter 4: Argentine Cinema 1973-1976Section II: The GauchesqueChapter 5: Martín FierroChapter 6: Don Segundo SombraChapter 7: Santos VegaChapter 8: Juan MoreiraChapter 9: Los gauchos judíosSection III: Representing Founding FathersChapter 10: Looking for a National HeroChapter 11: Güemes, la tierra en armasChapter 12: Bajo el signo de la patriaChapter 13: Juan Manuel de RosasConclusionsBibliography
£29.69
Boydell & Brewer Ltd María Félix: A Mexican Film Star and her Legacy
Book SynopsisMaría Félix (1914-2002) left her mark on Mexican and European film as well as fashion, art and jewellery design. Cartier created one-of-a-kind pieces; Leonora Carrington and Diego Rivera painted portraits; Carlos Fuentes wrote a play; Agustín Lara, a bestselling song. But she was nobody's muse. María Félix (1914-2002) left her mark on Mexican and European film as well as fashion, art and jewellery design. Cartier created one-of-a-kind pieces; Leonora Carrington and Diego Rivera painted portraits; Carlos Fuentes wrote a play; Agustín Lara, a bestselling song. But she was nobody's muse. Did Félix really bring baby crocodiles to the Cartier boutique to request lifelike copies in a necklace? The story may be apocryphal, but it perfectly encapsulates her powerful, independent and unconventional persona. This book first examines Félix's life and work, reviewing her films and acting style and considering what they say about gender norms and a woman's place on screen. It then turns to her role as curator and benefactor, exploring how art, literature and song sustained her image. It concludes by exploring the persistent interest in her life story and evaluating her significance for contemporary audiences.Table of ContentsList of Illustrations Acknowledgements Introduction: María Félix: The Legacies of a Mexican Film Star 1. Screen Icon, Stardom, and the Invention of La Doña 2. Movement, Performance, and Gesture: The Arch of the Brow and The Slap 3. The Star as Archetype: Extending the Range of the Mujer sin Alma 4. María Félix as Iconic Inspiration, Benefactor, Co-Creator, and Agent 5. Transformation, Remediation, and Fandom: From Print to Digital Conclusion: Félix's Work, Afterlife, and Legacy Filmography Bibliography Index
£75.00
Boydell & Brewer Ltd The Multimedia Works of Contemporary Latin
Book SynopsisIn contemporary Latin America, an emerging crosscurrent of pioneering female writers and artists with an interest in transgressing traditional boundaries of genre, media, gender and nation are using their work to voice dissent against pressing social issues including neo-liberal consumerism, environmental degradation, mass migration and gender violence.Table of ContentsList of Illustrations List of Contributors Acknowledgements INTRODUCTION: A Crosscurrent of Contemporary Latin American Women Multimedia Artists and Writers, S.E.L. Bowskill and J.E. Lavery CHAPTER 1: The Transliterary: The Novel and Other Multimedia Horizons Beyond (and Close to) the Textual, Ana Clavel CHAPTER 2: Commentary on Fe/males: Sieges of the Post Human (Transmedia Installation), Eugenia Prado Bassi CHAPTER 3: An Anthropaphagic Ch'ixi Poetics, Eli Neira CHAPTER 4: My Relationship with Artistic Creation Began with Words, Regina José Galindo CHAPTER 5: imagetext, Carla Faesler CHAPTER 6: Voices/Bodies, Mónica Nepote CHAPTER 7: Redefining Meaning: The Interweaving of the Visual and Poetic, Pilar Acevedo CHAPTER 8: The Territory is Home, Gabriela Golder and Mariela Yeregui CHAPTER 9: Reflections on a Multimedia Practice, Jacalyn Lopez Garcia CHAPTER 10: Digital Weaving, Lucia Grossberger Morales CHAPTER 11: Eli Neira, Regina José Galindo and Ana Clavel: "Polluting" Corporealities and Intermedial/Transliterary Crossings, Jane E. Lavery CHAPTER 12: The Digital Condition: Subjectivity and Aesthetics in "Fe/males" by Eugenia Prado Bassi, Carolina Gainza CHAPTER 13: The Transmedia, Post-Medium, Postnational and Nomadic Projects of Pilar Acevedo, Rocío Cerón and Mónica Nepote, Sarah E.L. Bowskill CHAPTER 14: The Art of the Hack: Poets Carla Faesler and Mónica Nepote and Booktuber Fátima Orozco, Emily Hind CHAPTER 15: The Places of Pain: Intermedial Mode and Meaning in Via Corporis by Pura López Colomé and Geografía de dolor by Monica González, Nuala Finnegan CHAPTER 16: Words, Memory and Space in Intermedial Works by Gabriela Golder and Mariela Yeregui, Claudia Kozak CHAPTER 17: Fungibility and the Intermedial Poem: Ana María Uribe, Belén Gache and Karen Villeda, Debra Ann Castillo CHAPTER 18: Hypertext and Biculturality in Two Autobiographical Hypermedia Works by Latina Artists Lucia Grossberger Morales and Jacalyn Lopez Garcia, Thea Pitman CHAPTER 19: Dialogues Across Media: The Creation of (New?) Hybrid Genres by Belén Gache and Marina Zerbarini, Claire Taylor Bibliography Index
£80.75
Paul Mellon Centre for Studies in British Art Artists’ Moving Image in Britain Since 1989
Book SynopsisAn in-depth study of the expanding role of the moving image in British art over the past thirty years Over the past three decades the moving image has grown from a marginalized medium of British art into one of the nation’s most vital areas of artistic practice. How did we get here? Artists’ Moving Image in Britain Since 1989 seeks to provide answers, unfolding some of the narratives—disparate, entwined, and often colorful—that have come to define this field. Ambitious in scope, this anthology considers artists and artworks alongside the organizations, institutions, and economies in which they exist. Writings by scholars from both art history and film studies, curators from diverse backgrounds, and artists from across generations offer a provocative and multifaceted assessment of the evolving position of the moving image in the British art world and consider the effects of numerous technological, institutional, and creative developments.Distributed for the Paul Mellon Center for Studies in British ArtTrade Review“[E]ntries…allow for reflection on the bodies (both institutional and literal) that constitute the publication…[and] search for new a direction.”—Dan Ward, Art Monthly
£33.25
Concordia University More Voice-Over: Colin Campbell Writings
Book Synopsis
£50.40
Instituto Monsa de Ediciones Game Of Thrones
Book SynopsisGame of Thrones is rated as one of the best television series. Critics have praised it for its performances, scripts, special effects, battle sequences and music. Its story line is inspired by A Song of Ice and Fire, a series of novels written by the American George R. R. Martin. This book is a tribute to this wonderful series that, during its eight seasons, has left us holding our breath on more than one occasion as a result of its unforgettable scenes and characters. In this book you will find works of fan art by some of the best international artists, authentic pieces of art, accompanied by phrases and data from the GOT universe!
£14.39
