Television Books

Book SynopsisMore than a century ago, filmmakers made their primary focus innovative and widely promulgated visions of antiquity, creating a profound effect on the critical, popular, and scholarly reception of antiquity. In this volume, scholars from a variety of countries and varying academic disciplines have addressed film’s way of using the field of Classical Reception to investigate, contemplate, and develop hypotheses about present-day culture, society, and politics, with a particular emphasis on gender and gender roles, their relationship to one another, and how filmic constructions of masculinity and femininity shape and are shaped by interacting economic, political, and ideological practices.Trade Review"[A] obra é um rico contributo no justificar da percepção de como a indústria do cinema tem ajudado à nossa compreensão de nós mesmos, da nossa cultura e sociedade, e de como o conhecimento cultural e social, bem como a experiência, pode ser veiculado pelos filmes e pelas imagens" Ricardo Duarte, CADMO, Revista de História Antiga 23 (2014), pp. 249-252.Table of ContentsHistorical Ancients Ben-Hur and Gladiator: Manifest Destiny and the Contradictions of American Empire, Jon Solomon Muscles and Morals: Spartacus, Ancient Hero of Modern Times, Thomas Späth & Margrit Tröhler With Your Shield or On it: The Gender of Heroism in Zack Snyder’s 300 and Rudoph Maté’s The 300 Spartans, Thorsten Beigel ‘This is Sparta!’: Discourse, Gender, and the Orient in Zack Snyder’s 300, Jeroen Lauwers, Marieke Dhont & Xanne Huybrecht ‘Everybody Loves a Muscle Boi’: Homos, Heroes, and Foes in Post-9/11 Spoofs of The 300 Spartans, Ralph Poole The Womanizing of Mark Antony: Virile Ruthlessness and Redemptive Cross-Dressing in Rome, Season Two, Margaret M. Toscano Cleopatra’s Venus, Elisabeth Bronfen Mythological Ancients Over his Dead Body: Male Friendship in Homer’s Iliad and Wolfgang Petersen’s Troy (2004), Andreas Krass Models of Masculinities in Troy: Achilles, Hector and Their Female Partners, Celina Proch & Michael Kleu ‘Include me out’ – Odysseus on the Margins of European Genre Cinema: Le Mépris, Ulisse, L’Odissea, Christian Pischel Between Mythical and Rational Worlds: Medea by Pier Paolo Pasolini, Lada Stevanovic Gender Norms and Hindu Authority in the Global Media Debate on Representing the Hindu God Krishna in Xena: Warrior Princess, Xenia Zeiler Mythological and Historical Thematics Ancient Women’s Cults and Rituals in Grand Narratives on Screen: From Disney’s Snow White to Olga Malea’s Doughnuts with Honey, Svetlana Slapšak Pandora-Eve-Ava: Albert Lewin’s Making of a ‘Secret Goddess’, Almut-Barbara Renger Phryne Paves the Way for the Wirtschaftswunder: Visions of Guilt and ‘Purity’ Fed by Ancient Greece, Christian Narrative, and Contemporary History, Barbara Schrödl The New Israeli Film Beruriah: Between Rashi and Talmud, between Antiquity and Modernity, between Feminism and Religion, Tal Ilan

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Book SynopsisIn the midst of National-Catholic outrage and censorship, Billy Wilder’s films helped open up the repertoire for moviegoers during Francoism. Vandaele’s Estados de Gracia contends that this explains why Wilder is still considered a cinematic god in Spain. En medio de la indignación y la censura nacional-católica, Billy Wilder contribuyó a renovar el cine para el público del franquismo. En Estados de Gracia, Vandaele sugiere que ello explica por qué Billy Wilder sigue siendo un dios del cine en España.Trade Review"This is fascinatingly detailed historical description but also far more: Vandaele recounts the drama of how Wilder's comedy entangled the censor and became something quite new, in a new language and country, deploying Freudian intrigue on a social and political scale." "Este estudio es mucho más que la descripción fascinante de un destacado proceso de recepción. Vandaele pone al descubierto los engaños y las estratagemas con los que las comedias de Wilder intentan burlar a la censura, y cómo estas, en otro idioma y otro país, se transforman en algo nuevo, maquinando a nivel social y político una intriga psíquica al modo de otro famoso judío vienés." - Anthony Pym, President of the European Society for Translation Studies, Professor of Translation and Intercultural Studies (Universitat Rovira i Virgili) "Successfully engaging with several disciplines --film studies, translation studies, and Spanish studies-- Vandaele's original and exciting book reveals in all its depth a scarcely explored episode of Francoism, and illustrates to what extent dubbing can truly become a political instrument." "El trabajo de Jeroen Vandaele sabe conectar con éxito varios terrenos académicos: los estudios del cine, los estudios de traducción, y el hispanismo. El resultado, original y apasionante, revela en toda su profundidad un episodio apenas estudiado de la dictadura franquista y demuestra la auténtica capacidad del doblaje como herramienta política." - Daniel Sánchez Salas, Professor of Film Studies (Universidad Rey Juan Carlos) “minucioso, importante y original” - Jordi Cornellà-Detrell, University of Glasgow, in Bulletin of Spanish Visual Studies, 2017 pp.312-313 “una obra de referencia para aquel investigador que desee explorar [la] intrincada relación entre traducción y censura bajo la época franquista” - Purificación Meseguer Cutillas, in Bulletin of Hispanic Studies, Vol. 94.9 2017, pp. 1035-1036Table of ContentsPrefacio 1. Expositio 1.1 El campo plural: traducción, franquismo, poética 1.2 El caso particular: Billy Wilder 1.3 El franquismo y Billy Wilder 1.3.1 Etapas, ideologías e instituciones 1.3.2 23 películas ante 6 Juntas 1.4 Los ideólogos de la Censura Estatal 2. Los Estados de Gracia y sus principios 2.1 Historia y hermenéutica 2.1.1 Billy Wilder: lecturas franquistas y otras 2.1.2 Reflexiones historiográficas: tensiones y trasvases 2.2 Poética y retórica 2.2.1 La ficción cinematográfica, ¿estado de gracia? 2.2.2 El humor, ¿estado de gracia? 2.2.3 Reflexiones retóricas: seriedad y juego 3. La polifonía armonizada 3.1 En busca de doblajes franquistas 3.1.1 Voces de doblaje 3.1.2 Circuitos de doblaje 3.2 La censura — un estudio traductológico 3.2.1 El título como principio 3.2.2 El FIN que justifica los medios 3.2.3 Character assassination, al revés 3.2.4 Humor narrativo 3.2.5 Irrupciones y alusiones 4. Conclusión Apéndice 1: nómina de censores Apéndice 2: doblajes de Billy Wilder Bibliografía Índice alfabético

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Book SynopsisTaking an interdisciplinary approach, this volume brings together contributions by distinguished experts from different disciplinary fields for a multidimensional view on immersion in the visual arts and media. In the current media debate, immersion has frequently been linked to the advent of digital technology and its capacity to provide vivid sensations of being placed in or surrounded by an artificial space. The idea of ‘liquidity’ contained in this promise to plunge into another world informs wide areas of contemporary cultural imagination, referring to a myriad of phenomena that relate to experiences of uncertainty and instability, of complexity and change. Considering the fact, however, that the idea of ‘liquid’ spaces appeared long before the digital creation of augmented or virtual environments, the contributors to this volume trace its reemerging throughout the history of the visual arts and media. By focusing on selected works of painting and architecture, photography and cinema, video installation and media art, they explore the variability of immersive experiences according to the different media environments and interfaces that constitute the actual sites of historically shifting relations between media and users. Contributors are: Matthias Bauer, Jörg von Brincken, Robin Curtis, Burcu Dogramaci, Thomas Elsaesser, Ole W. Fischer, Gundolf S. Freyermuth, Ursula Frohne, Henry Keazor, Matthias Krüger, Katja Kwastek, Fabienne Liptay, Karl Prümm, Martin Warnke.Table of ContentsIntroduction Burcu Dogramaci & Fabienne Liptay Immersion in the Visual Arts and Media Part 1: Materials and Sensations of Immersion Burcu Dogramaci Water, Steam, Light: Artistic Materials of Immersion Robin Curtis Immersion and Abstraction as Measures of Materiality Katja Kwastek Immersed in Reflection: The Aesthetic Experience of Interactive Media Art Fabienne Liptay Neither Here nor There: The Paradoxes of Immersion Jörg von Brincken Phantom-Drug-Death Ride: The Psycho-sensory Dynamic of Immersion in Gaspar Noé’s Enter the Void Part 2: Archaeologies and Technologies of Immersion Karl Prümm From the Unchained to the Ubiquitous Motion-Picture Camera: Camera Innovations and Immersive Effects Gundolf S. Freyermuth From Analog to Digital Image Space: Toward a Historical Theory of Immersion Martin Warnke On the Spot: The Double Immersion of Virtual Reality Ursula Frohne Expansion of the Immersion Zone: Military Simulacra between Strategic Training and Trauma Thomas Elsaesser Immersion between Recursiveness and Reflexivity: Avatar Part 3: Landscapes and Architectures of Immersion Henry Keazor Projection Rooms: Film as an Immersive Medium in the Architecture of Jean Nouvel Ole W. Fischer “The Treachery of Images”: Architecture, Immersion, and the Digital Realm Matthias Krüger Painting Immersion: Hans Thoma’s Landscapes Matthias Bauer Immersive Exhibition Design: Titanic Belfast and the Concept of Scenography Notes on Contributors Index of Names

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Book SynopsisThis is the first book-length introduction in Spanish to the current debate on transnationality in Spanish and Latin American cinema, with theoretical and analytical contributions by several of the leading scholars in the field. Éste es el primer libro en español que se dedica enteramente a plantear el debate contemporáneo acerca de la transnacionalidad del cine español y latinoamericano, con aportaciones teóricas y críticas que ofrecen algunos de los mejores especialistas.Table of ContentsPreliminares Introducción al volumen (Robin Lefere y Nadia Lie) Lo transnacional en el cine hispánico: deslindes de un concepto (Nadia Lie) I Modos de producción y de distribución Navegar por el frío mar Atlántico. España y los ensayos de un cine transnacional en español (1948-1962) (Marina Díaz López) Almodóvar en la frontera: El Deseo y la estética de las coproducciones transnacionales (Marvin D’Lugo) Un impulso transnacional al cine latinoamericano de festivales. El programa Cine en Construcción (Minerva Campos) El BAFICI como ventana al mundo del cine argentino (Sergio Wolf) II Directores Buñuel y Saura, ¿directores “transnacionales”? (Robin Lefere) Lo transnacional como expresión de cuestionamientos identitarios en los documentales de Edgardo Cozarinsky y Alberto Yaccelini (Pablo Piedras) La vida secreta de las palabras (2005) de Isabel Coixet. Un testimonio transnacional (Pietsie Feenstra) Multilingüismo y subtitulación: la (in)comunicación en Babel (An Van Hecke) III Modos narrativos Travelling cinema – La road movie latinoamericana en el contexto global (Verena Berger) El discurso espacial de la road movie en América Latina (Michael Chanan) La infancia entre nación y transnación en varias películas coproducidas del cine hispanoamericano contemporáneo (Sophie Dufays) Cine queer latinoamericano y las coproducciones europeas (Deborah Shaw) Fichas biobibliográficas de los autores Índice

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Book SynopsisNeo-Victorian Villains is the first edited collection to examine the afterlives of such Victorian villains as Dracula, Svengali, Dorian Gray and Jekyll and Hyde, exploring their representation in neo-Victorian drama and fiction. In addition, Neo-Victorian Villains examines a number of supposedly villainous types, from the spirit medium and the femme fatale to the imperial ‘native’ and the ventriloquist, and traces their development from Victorian times today. Chapters analyse recent theatre, films and television – from Ripper Street to Marvel superhero movies – as well as classic Hollywood depictions of Victorian villains. In a wide-ranging opening chapter, Benjamin Poore assesses the legacy of nineteenth-century ideas of villains and villainy in the twentieth and twenty-first centuries. Contributors are: Sarah Artt, Guy Barefoot, Jonathan Buckmaster, David Bullen, Helen Davies, Robert Dean, Marion Gibson, Richard Hand, Emma James, Mark Jones, Emma V. Miller, Claire O’Callaghan, Christina Parker-Flynn, Frances Pheasant-Kelly, Natalie Russell, Gillian Piggott, Benjamin Poore and Rob Welch.Table of ContentsList of Figures The Villain-Effect: Distance and Ubiquity in Neo-Victorian Popular Culture Benjamin Poore Part 1: Theatrical Transformations 1 'A Perfect Demon’: Michael Eaton's Charlie Peace: His Amazing Life & Astounding Legend Richard J. Hand 2 Miss Representation: The Femme Fatale and the Villainy of Performance in Neo-Victorian Hollywood Christina Parker-Flynn 3 Melodramatic Villainy (Just) after the Victorians Guy Barefoot 4 Imperial Heroes and Native Villains Robert Dean 5 Sonorous Psychopaths: Neo-Victorian Ventriloquists on Screen Gillian Piggott Part 2: Transitional and Liminal Figures 6 Kissing the Medium: The Spiritualist-Witch as Countercultural Heroine in the Thirty-Nine Steps (1959) Marion Gibson 7 Jack the Representation: The Ripper in Culture Mark Jones 8 On the Origin of a Supervillain: The Neo-Victorian Reinvention of Mister Sinister David Bullen 9 Framing Our Fearful Symmetry: Substance Dualism, Reincarnation and the Villainy of the Disembodied Soul Emma V. Miller Part 3: Neo-Victorian Sex and 'Sexsation' 10 The Postfeminist Tart: Neo-Victorian Villainy and Sex Work in Ripper Street Sarah Artt 11 "I raise the devil in you, not any potion. My touch": The Strange Case of Heterosexuality in Neo-Victorian Versions of Jekyll and Hyde Helen Davies 12 A Wilde Scoundrel: Villainy and 'Lad Culture' in the Filmic Afterlives of Dorian Gray Claire O’Callaghan Part 4: Literary Villains Reimagined 13 Svengali: The Evolution of Ethnic Evil through Adaptation Rob Welch 14 From 'the wicked man' to the 'bastard boy of seven': The Evolution of John Jasper's Villainy in Adaptations of The Mystery of Edwin Drood Jonathan Buckmaster 15 "I’m always angry": Super-Hydes and the Appropriation of Edward Hyde in Superhero Films Emma A. Harris 16 Revisionist Vampires: Transcoding, Intertextuality, and Neo-Victorianism in the Film Adaptations of Bram Stoker's Dracula Frances Pheasant-Kelly and Natalie Russell Index

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Book SynopsisThe Baroque is back in contemporary culture. The ten essays authored by international scholars, and three interventions by artists, examine the return of the baroque as Neo-Baroque through interdisciplinary perspectives. Understanding the Neo-Baroque as transcultural (between different cultures) and transhistorical (between historical moments) the contributors to this volume offer diverse perspectives that suggest the slipperiness of the Neo-Baroque may best be served by the term ‘Neo-Baroques’. Case studies analysed reflect this plurality and include: the productions of Belgian theatre company Abattoir Fermé; Claire Denis’ French New Extremist film Trouble Every Day; the novel Lujuria tropical by exiled El Salvadorian Quijada Urias; the science fiction blockbuster spectacles The Matrix and eXistenZ; and the spectacular grandeur of early Hollywood movie palaces and the contemporary Las Vegas Strip. Contributors: Jens Baumgarten, Marjan Colletti, Bolívar Echeverría, Rita Eder, Hugh Hazelton, Monika Kaup, Peter Krieger, Patrick Mahon, Walter Moser, Angela Ndalianis, Richard Reddaway, Karel Vanhaesebrouck, Saige Walton.Table of ContentsBook Introduction—Walter Moser Part One: Neo-Baroques Part One Introduction—Walter Moser 1. Meditations on the Baroque—Bolívar Echeverría 2. Reconsidering Metatheatricality: Towards a Baroque Understanding of Postdramatic Theatre—Karel Vanhaesebrouck 3. Fabricating Film: The Neo-Baroque Folds of Claire Denis—Saige Walton 4. Baroque Affinities : Wölfflin, Visconti, the Baroque and the Films of Glauber Rocha—Rita Eder 5. Artist’s Essay: The Neo-Baroque and Complexity—Richard Reddaway Part Two: Religion Part Two Introduction—Angela Ndalianis 6. Afro-Caribbean Belief Systems and the Neo-Baroque Novel: The Duel of Faiths in Alejo Carpentier’s El reino de este mundo and Ludic Voodoo in Alfonso Quijada Urías’s Lujuria tropical —Hugh Hazelton 7. Temporal and Local Transfers: The Neo-Baroque Between Politics, Religion and Entertainment —Jens Baumgarten 8. The Religious Shines Through: Religious Remnants and Resurgences in 90s Cinema —Walter Moser 9. Artist’s Essay: Towers, Shipwrecks, and Neo-Baroque Allegories—Patrick Mahon Part Three: Cities Part Three Introduction—Peter Krieger 10. Symbolic Dimensions and Cultural Functions of the Neo-Baroque Balustrade in Contemporary Mexico City: An Alternative Learning from Las Vegas—Peter Krieger 11. Mexico City’s Dissonant Modernity and the Marketplace Baroque: Salvador Novo’s Nueva grandeza mexicana and Bernardo de Balbuena’s La grandeza mexicana—Monika Kaup 12. Baroque Theatricality and Scripted Spaces: From Movie Palace to Las Vegas Casinos—Angela Ndalianis 13. Artist’s Essay: Post-Digital Neo-Baroque: Reinterpreting Baroque Reality in Contemporary Architectural Design—Marjan Colletti AUTHOR BIOGRAPHIES

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Book SynopsisThe aim of this essay is to analyse TV series from the point of view of philosophical aesthetics. Aiming to show how philosophy may contribute to “seriality studies”, Andrzejewski and Salwa focus on seriality as a factor which defines the structure of TV series, their aesthetic properties, as well as their modes of reception. TV series have been studied within media theory and cultural studies for quite a long time, but they have been approached mainly in terms of their production, distribution, and consumption across various and changing social contexts. Following the agenda of philosophical aesthetics Andrzejewski and Salwa claim instead seriality implies a sort of normativity, i.e. that it is possible to indicate what features a television show has to have in order to be a serial show as well as the manner in which it should be watched if it is to be experienced as a serial work.Table of ContentsLaw and TV Series  Adam Andrzejewski and Mateusz Salwa  Abstract  Keywords  1 Introduction: Law, TV Series and Aesthetics  2 Seriality in Art and Culture  3 Authority, Norms, and Categories  4 Qualities and Complexities of Television  5 Everything Is Connected: The Relations between Episodes  6 The Aesthetics of Watching  7 Conclusion  Bibliography  Internet Sources

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Book SynopsisThis study deepens our historical understanding of the North-African Jewish and Middle Eastern Jewish experience during WWII, which is often under- or mis-represented by the media in Israel, the Arab world, France, and Italy. Public, historical and sociocultural discourse is examined to clarify whether these communities are accepted by the world as "Holocaust survivors". Further, it determines the extent to which their wartime history is revealed to Israeli society in its cultural performances. Importantly, this work addresses the reasons why the Holocaust of North African Jewry is absent from Israeli and world consciousness. Finally, the study contemplates the consequences of these phenomena for Israeli society as well as in the colonial countries of France and Italy. "In addition to using academic resources, Golan captures this history from the margins by utilizing audio-visual and artistic media in addition to evidence recorded on community heritage websites, Facebook, and other online social networks. Golan’s book demonstrates that there is a moral imperative to preserve and transmit these memories of persecution and discrimination..." -David B Levy, Touro College, NYC, Association of Jewish Libraries News and Reviews 1.2 (2019)Trade Review"Yvonne Kozlovsky Golan’s book, Site of Amnesia, enriches our understanding, expands the possibilities for new research, and provides insight into how this unique aspect of the war was addressed and commemorated in film and television over the years." - Haim Saadoun, The Open University of Israel, in Antisemitism Studies 6.1 (2022)Table of ContentsPreface and Acknowledgements Introduction 1 Origins and Description of Multilateral Development Banks’ Sanctions Regimes  Introduction  1 Origins of Multilateral Development Banks’ Sanctions Regime   A Federal Acquisition Regulation (far)    (i) Causes for Debarment    (ii) Suspension    (iii) Debarment Procedures    (iv) Judicial Review and Due Process Rights   B Evolution of the World Bank Group’s Sanctions System    (i) First Sanctions Regime    (ii) The Thornburgh Report    (iii) Expansion of Sanctions Regime beyond Procurement and Launch of the Voluntary Disclosure Programme    (iv) Early Harmonisation Efforts with Other mdbs  2 Description of Multilateral Development Banks’ Sanctions Regimes   A World Bank Group’s Sanctions Regime    (i) Two-Step Decision-Making Process    (ii) Range of Possible Sanctions    (iii) Settlements   B Inter-American Development Bank’s Sanctions Regime    (i) Early Developments and the Thornburgh Report    (ii) Two-Step Decision-Making Process    (iii) Range of Possible Sanctions    (iv) Settlements   C European Bank for Reconstruction and Development’s Sanctions Regime    (i) Early Developments    (ii) Two-Step Decision-Making Process    (iii) Range of Possible Sanctions    (iv) Settlements   D African Development Bank’s Sanctions Regime    (i) Early Developments    (ii) Two-Step Decision-Making Process    (iii) Range of Possible Sanctions    (iv) Settlements   E Asian Development Bank’s Sanctions Regime    (i) Early Developments    (ii) Two-Step Decision-Making Process    (iii) Range of Possible Sanctions  3 Comparison of Multilateral Development Banks’ Sanctions Regimes and the Cross-Debarment Regime   A Comparison of Multilateral Development Banks’ Sanctions Regimes   B Cross-Debarment Regime  Conclusion 2 Judicial Review Standards  Introduction  1 Judicial Review Standards in the uk   A Bases for Judicial Review   B Required Procedures    (i) Notice    (ii) Right to Make Representations: Written or Oral Proceedings?    (iii) Right to Call and Cross-Examine Witnesses    (iv) Right to Legal Representation    (v) Failure to give Reasons for the Final Decision  2 Judicial Review Standards in the US   A Bases for Judicial Review   B Required Procedures  Conclusion 3 Accountability of International Organisations  Introduction  1 Basis of International Organisations’ Immunities  2 Case Law   A US Courts   B UK Courts   C Italian Courts   D French Courts   E Belgian Courts   F Human Rights Dimension and the echr  Conclusion 4 What Legal Principles Should Form the basis of mdbs’ Sanctions Regimes?  Introduction  1 Customary Law and General Principles  2 Global Administrative Law  3 Article 6(1) of the European Convention on Human Rights   A Civil Rights   B Hearing   C Independent and Impartial Tribunal  4 Public Judgment/Reasoning of Judicial Decisions    (i) Fair Trial  5 Jurisprudence of Multilateral Development Banks’ Administrative Tribunals   A Discovery Rights   B Oral Hearings and Witnesses   C Publication of Decisions   D Composition of Administrative Tribunals    (i) wbat    (ii) UN Appeals Tribunal    (iii) imf Administrative Tribunal  Conclusion 5 Due Process Standards in Multilateral Development Banks’ Sanctions Regimes  Introduction  1 Discovery Rights   A Permissive Approach and Production of Documents   B Experts’ Reports and Assessment of Evidence   C Witnesses and Oral Hearings  2 Publication of Decisions  3 Referral to National Authorities  4 Composition of Sanctions Boards   A Sanctions Board Members’ Independence and Impartiality   B Appointment of Sanctions Board Members  5 Range of Sanctions and their Proportionality to the Wrongdoing  6 Baseline Sanction  7 Restitution  8 Settlements  Conclusion 6 Treatment of Corporate Groups under Multilateral Development Banks’ Sanctions Regimes  Introductionv  1 Overview of the Harmonized Principles on Treatment of Corporate Groups  2 Liability of a Company for its Employees’ Wrongdoings   A US Law   B UK Law   C Application of the Foregoing Principles to mdbs’ Sanctions Procedures  3 Liability of a Parent for its Subsidiaries’ Wrongdoings   A US Law    (i) General Approach    (ii) Criminal Liability, Including fcpa    (iii) Proposals for Reforms of the US System   B UK Law    (i) General Approach    (ii) Criminal Liability, Including UK Bribery Act   C Application of the Foregoing Principles to mdbs’ Sanctions Procedures  4 Liability of a Subsidiary for its Parent’s Wrongdoings   A US and EU Sanctions Regimes   B Application of the Foregoing Principles to mdbs’ Sanctions Procedures  5 Successor Liability   A US Law   B UK Law   C Application of the Foregoing Principles to mdbs’ Sanctions Procedures  Conclusion 7 Conclusion and Way Forward Bibliography Index

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Book SynopsisIn Fragile Images: Jews and Art in Yugoslavia, 1918-1945, Mirjam Rajner traces the lives and creativity of seven artists of Jewish origin. The artists - Moša Pijade, Daniel Kabiljo, Adolf Weiller, Bora Baruh, Daniel Ozmo, Ivan Rein and Johanna Lutzer - were characterized by multiple and changeable identities: nationalist and universalist, Zionist and Sephardic, communist and cosmopolitan. These fluctuating identities found expression in their art, as did their wartime fate as refugees, camp inmates, partisans and survivors. A wealth of newly-discovered images, diaries and letters highlight this little-known aspect of Jewish life and art in Yugoslavia, illuminating a turbulent era that included integration into a newly-founded country, the catastrophe of the Holocaust, and renewal in its aftermath.Table of ContentsAcknowledgments  xi List of Illustrations Note on Personal Names Introduction Part 1: In Search of an Identity: Sephardic, Zionist, Yugoslav Introduction to Part 1 1 From Dorćol to Paris and Back: Moša Pijade’s Self-Portraits  1 Coming of Age in Belgrade  2 Fin-de-siècle Munich  3 The Bohemian Paris  4 Pijade’s Self-Portraits: In Search of an Identity 2 Sarajevo’s Multiculturalism: Daniel Kabiljo’s Sephardic Types  1 Between East and West  2 Bosnian Artist or Yugoslav Zionist?  3 Choosing Sides  4 Kabiljo’s Sephardic Types 3 A Croatian Zionist: Adolf Weiller between the East European Shtetl and the Lure of Nature  1 Becoming a “Jewish Artist”  2 The Lure of Nature Part 2: From Avant-Garde to Political Activism Introduction to Part 2 4 Bora Baruh’s Refugees  1 “Four Mahaneh Portraits”  2 The Early Works  3 Paris: A Painter and a Revolutionary  4 Painting Refugees  5 Two Directions: The “Art for Art’s Sake” and the Socially Engaged Art 5 Ivan Rein’s Paris: From the Quartier Latin to Camp Vernet  1 Growing Up in an Affluent and Acculturated Jewish-Catholic Family  2 The Croatian School of Painting  3 Rein’s Paris  4 Social Awareness and Political Protest  5 Letters to Cuca: On Being Jewish, Yugoslav, and Universal on the Eve of WWII 6 The Ethnic and Universal Avante-Garde: Daniel Ozmo’s Linocuts  1 A Bosnian Sephardic Artist in Belgrade  2 Discussing “Jewish Art” in the 1930’s: Between Racial Traits and Human Values  3 Social Content and Expressionist Form  4 Sarajevo’s Avant-Garde: Collegium Artisticum Part 3: “We Artists Have to Paint”: Art Created during the War and the Holocaust Introduction to Part 3 7 Bora Baruh in Occupied Belgrade: Images of Jewish and Christian Mourning  1 Bombing of Belgrade and Persecution of the Jews  2 Painting Portraits  3 Refugees on Ruins 8 Art in Jasenovac: Daniel Ozmo and the Artists of the Ceramic Workshop  1 The Destruction of Sarajevo’s Jewish Community and Daniel Ozmo’s Arrest  2 The Jasenovac Camp and the Ceramic Workshop  3 Ozmo’s Depictions of Forced Labor  4 Slavko Bril  5 Portraits and Landscapes  6 Ozmo’s End 9 Refugee and Artist: Ivan Rein, Johanna Lutzer, and Jewish Cultural Life in Kraljevica  1 Escaping to the Adriatic Coast  2 Being a Refugee in Kraljevica  3 Ivan Rein’s Refugee Art  4 The Kraljevica—Porto Re Camp  5 Ivan Rein’s Drawings Created in the Kraljevica Camp  6 Johanna Lutzer: A Jewish Artist from Vienna 10 The Rab Island Camp: From Internment to Freedom Part 4: Producing Art for Partisans: Creativity between Ideology and Survival Introduction to Part 4 11 Bora Baruh as a Partisan, 1941–1942 12 Johanna Lutzer: Jewish Refugees with the Partisans in Croatia 13 Postscript: Jewish Artists as National Heroes, Victims of Fascism, and Holocaust Survivors Conclusion Bibliography Index

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Book SynopsisIn what is often considered ‘a society “after God”’, millions of Dutch participate annually in a public multi-media performance of Christ's Passion. What to make of this paradox? In Playing On: Re-staging the Passion after the Death of God, Mirella Klomp offers a theological analysis of this performance and those involved in it. Working in an interdisciplinary fashion and utilizing creative interludes, she demonstrates how precisely this production of Jesus' last hours carves out a new and unexpected space for God in a (post-)secular culture. Klomp argues compellingly that understanding God's presence in the Western world requires looking beyond the church and at the public domain; that is the future of practical theology. She lays out this agenda for practical theology by showing how the Dutch playfully rediscover Christian tradition, and – perhaps – even God.Table of ContentsContents Preface List of Charts, Figures and Tables Prologue Setting the Stage 1 The Play: A Popular Passion in the Public Sphere 2 The Scenery: Dwellings in a Sacro-Soundscape 3 The Re-Appearance of God: Ana-Liturgy Cross-Fading Perspectives on the Play 4 Claiming Sacred Ground: A Spatial Practice Side Light: Locus Iste. A Meditation 5 Playing with the Sacred: A Ludic Practice Side Light: @deusludens. A Twitter Thread 6 Dealing with Society’s Secular Self-Understanding: A Reflexive Practice Side Light: Reflections in a Mirror. A Meditative Exegesis 7 Staging the Resurrection: A Public Theological Practice Side Light: What Is This All About? A Letter Full Up Finish 8 Playing on: Practical Theology after the Death of God Appendix 1: Research Methodology Appendix 2: Tables Bibliography Index Permissions

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Book SynopsisReligious Narratives in Contemporary Culture: Between Cultural Memory and Transmediality analyses the meaning and role of religion in western cultural practices in the twenty-first century. This inquiry situates itself at the intersection between cultural memory studies and the transmedial study of narrative and art. Contributors focus on genres which have yet to receive significant critical attention within the field, including speculative fiction films and television series, autobiographical prose and poetry, and action-adventure video games. In this time of crisis, where traces of religious thinking still persist in the presence or absence of religious faith, this volume’s collective look into some of their cultural embodiments is necessary and timely. The volume is addressed primarily to scholars and students interested in intersections between religious and cultural studies, revisions of traditional religious narratives, literature as a space of reflection on today's world, contemporary media studies and remediation. Maria-Sabina Draga Alexandru's editing work in the last stages of this volume was supported by a grant of the Romanian Ministry of Education and Research, CNCS – UEFISCDI, project number PN-III-P3-3.6-H2020-0035.Table of ContentsList of Figures Notes on Contributors Introduction   Maria-Sabina Draga Alexandru and Dragoș Manea PART 1 Negotiations between the Spiritual and the Secular 1 Going Boldly Where Few Have Gone Before  Science, Religion and Life-Writing in the Poetry of Elizabeth Bishop and Tracy K. Smith   Marcel Inhoff 2 Roman Catholic Religion and Folk Religiosity in the Fiction of Contemporary American Writers of Polish Descent  An Analysis of Selected Works by Stuart Dybek   Sonia Caputa 3 “A Secular Mind Searching for Its Lost Love”  Mourning, Religion, and the Return of the Dead in Meghan O’Rourke’s The Long Goodbye   Mihaela Precup PART 2 Oppression and Resistance 4 Cultural Memory and Political Resistance through Religious/Spiritual Art in (Post-) Communist Romania   Maria-Alina Asavei 5 The Rhetoric of the Body of Christ and the Pitfalls of American Democracy   Olga V. Solovieva 6 Evil Nuns and Useless Priests  On the Representation of Christianity in Contemporary Historical Fantasy Television Series   Dragoș Manea PART 3 Transmedial Religious Narratives in Unreal and Posthuman Worlds 7 Algorithms of Desire  Dukkha in the Machine   Anthony Miccoli 8 How to Fight Historical Violence  Posthuman Spirituality in Cloud Atlas   Maria-Sabina Draga Alexandru 9 Can Artificial Humans Go to Heaven? Transhumanist Salvation in Shelley’s Frankenstein and the Hitman Series   Andrei Nae  Conclusion   Maria-Sabina Draga Alexandru and Dragoș Manea Bibliography Index

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Book SynopsisCet ouvrage réunit plusieurs chercheurs et praticiens du cinéma autour de l’étude des représentations de la peau à l’écran, dans leur double dimension formelle et signifiante, à travers seize contributions portant sur diverses traditions cinématographiques, époques et aires géographiques/culturelles. This book is a collection of sixteen articles by researchers and cinema professionals about various cinematographic traditions, periods, and geographical/cultural areas to study the representations of skin on screen, in both their formal and signifying dimensions.Table of ContentsTable des matières Prologue : le précipice de la nudité Remerciements Liste des Figures Introduction  Diane Bracco Partie 1: Poétiques de la peau 1 La page et la peau au pays des signes : The Pillow Book de Peter Greenaway  Bertrand Westphal 2 Vêtir, maquiller, frotter la peau : le miracle cutané dans les films de João Pedro Rodrigues  Fabien Meynier 3 La peau filmée et la chair du film : la puissance mystique des gestes filmiques dans L’Homme qui a surpris tout le monde (2018) de Natalia Merkoulova et Alexeï Tchoupov  Macha Ovtchinnikova 4 Cyril Collard, l’écorché vif  Éloïse Delsart 5 De la peau douce à la carne  Marianne Pistone partie 2: Peaux et identités 6 Memento ou la mémoire défaillante dans la peau  Louis Daubresse 7 L’écriture de la peau dans Memento (Christopher Nolan, 2000) : du mutisme du corps tatoué à son devenir image  Isabelle Labrouillère 8 Dans la peau de l’homme moderne : Le Visage d’un autre (Hiroshi Teshigahara, 1966)  Andrea Grunert 9 Les Yeux sans visage (Georges Franju, 1959) : tissu facial, voile et configuration du moi  Pedro Poyato 10 La peau comme lieu de (re)construction identitaire dans le cinéma de Pedro Almodóvar  Audrey Higelin 11 La caméra à fleur de peau : Pieles ou l’esthétique épidermique d’Eduardo Casanova  Diane Bracco partie 3: Filmer la peau : enjeux techniques et socioculturels 12 Artifices et techniques au service de l’acteur de cinéma : la mise en lumière de la peau (1900 à 1940)  Sylvie Roques 13 Villain ou victime ? Carnation et stigma dans le period drama britannique (Les Hauts de Hurlevent d’Andrea Arnold, 2011)  Jessy Neau 14 Le Cinema Novo et les visages du Brésil. Exposition de la peau et figurations du peuple dans Sécheresse (1963) et Terre en transe (1967)  Nicolas Piedade 15 Bâtir un imaginaire épidermique dans le cinéma centre-américain  Entretien avec Aiko Sato et Nicolás Wong Díaz 16 La peau comme matière filmique : réalisme et sensualité  Entretien avec Luis Armando Arteaga, directeur de la photographie Conclusion Index

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Book SynopsisSerial killers are popular-culture icons, selling books, movies and podcasts in every country in the world. This innovative and timely book uses methods in Media and Cultural Studies to analyse why global audiences are mesmerised by representations of serial killing. Unique in its transnational case studies, it addresses serial murder through a new perspective of the “serial spectator.”   Trade Review"Brill's dynamic peer-reviewed series Textxet: Studies in Comparative Literature has since the mid-1990s been publishing monographs and edited collections on a range of subfields within the capacious field of comparative literature. The nearly 100 scholarly monographs published as part of Textxet engage rigorously with theories of literature, world literature, and literature and thought from around the globe, frequently from interdisciplinary and transdisciplinary perspectives. Soon to be fully digitized and accessible, Textxet has contributed significantly to the study of comparative literature, broadly conceived, in Europe and North America, and to literature studies more broadly, particularly in the discipline's many emerging subfields. Publishing the work of both established scholars and recent Ph.D.'s, Textxet gives scholars of all generations a platform for sharing their best work, and inspiring vigorous scholarly conversations" --Karen Thornber, Harvard University, USA, author of Global Healing: Literature, Advocacy, Care(2020)Table of ContentsNotes on Contributors Introduction: The Spectacle of Serial Violence in Global Literature and Media Part 1 Seriality of Violence 1 Abattoir Elegantiarum: Fashion Victimology and Hannibal’s Grand Designs  Seth Wilder 2 Eat, Sleep, Read, Repeat: Excess and Enjoyment in Tomie  Shweta Khilnani 3 Caught in Observation: Sublime tableaux morts in Female Serial Killer Narratives  Natalia Igl Part 2 Moral Panics and Murderous Sublime 4 “The Horror in Whitechapel”: Sensational Journalism in the Jack the Ripper Murders  Chen F. Michaeli 5 (Wo)Mens Rea: The Strange Case of Anne Perry and Murder of/for/by Women  Anhiti Patnaik 6 A Poetics of Restlessness: The House That Jack Built and the Conventions of Serial Killer Fiction  Luciano Cabral and Pedro Sasse Part 3 Transnational Evil of Banality 7 Murder and Meaning: The Ordinariness of Violence in Memories of Murder  Reza Pourmikail 8 Lurid and Unlimited: Interpreting Bateman’s Banality in American Psycho  Patrick Lawrence 9 The Digital Banal and Sublime Justice in Chinese Internet Literature  Lina Qu Part 4 Spacetime of Violence 10 “Blood on the Snow”: Nordic Noir as a Fantasy Travelog  Elana Gomel 11 “Le immagini ti guardano”: The Gallery City in the Giallo Genre of Italian Cinema  Peter Vorissis 12 Santusthi and Jodidar through Serial Killing in Raman Raghav 2.0  Aratrika Das Conclusion: Healing through Horror in a Pandemic—The Editors in Dialogue  Anhiti Patnaik and Elana Gomel

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Book SynopsisFilm festivals around the world are in the business of making experiences for audiences, elites, industry, professionals, and even future cultural workers. Cinema and the Festivalization of Capitalism explains why these non-profit organizations work as they do: by attracting people who work for free, while appealing to businesses and policymakers as a cheap means to illuminate the creative city and draw attention to film art. Ann Vogel’s unprecedented systematic sociological analysis thus provides firm evidence for the ‘festival effect’, which situates the festival as a key intermediary in cinema value chains, yet also demonstrates the impact of such event culture on cultural workers’ lives. By probing the various resources and institutional pillars ensuring that the festivalization of capitalism is here to stay, Vogel urges us to think critically about publicly displayed benevolence in the context of cinema—and beyond.Table of ContentsAcknowledgments List of Figures and Tables Introduction Film Festivals, Introducing a Global Population Part 1 Affordances 1 Film Festivals and Festivalization 2 The Experience-Maker 3 Alternative Exhibition Part 2 Devices 4 Mimetic Adoption and Social Capital 5 Festival Devices 6 Examining the Festival Effect Part 3 Justifications 7 Film Festival as Charismatic Organization 8 Spreading the Risk: Film Festival Work and Creative Labor Strategies 9 Institutional Supports for Festival Volunteering 10 The Calling of Unpaid Labor Part 4 Adjustments 11 Affect, Event, and Social Order 12 A Postmodern Grants Economics: Elites, Excess, and Cultural Diversity 13 Activation, or the Eclipse of the Civic Polis  Toward Social Activism, a Conclusion  Appendix: Methodological Supplement for Chapter 6  Bibliography  index

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Book SynopsisThis book is the first to deal with documentary aesthetic practices of the post-war period in Eastern Europe in a comparative perspective. The contributions examine the specific forms and modes of documentary representations and the role they played in the formation of new aesthetic trends during the cultural-political transition of the long 1960s. This documentary first-hand approach to the world aimed to break up unquestioned ideological structures and expose tabooed truths in order to engender much-needed social changes. New ways of depicting daily life, writing testimony or subjective reportage emerged that still shape cultural debates today.Table of ContentsContents Acknowledgements List of Figures Notes on Contributors Introduction Firsthand Time  Clemens Günther and Matthias Schwartz Part 1: Exposing a Painful Past: Modes of Testimony 1 “Document of the Soul:” Varlam Shalamov’s Documentary Writing in a Contemporary Context  Franziska Thun-Hohenstein 2 A Dreyfus Affair for Soviet Children: on the Encoded Poetics of Aleksandra Brushtein’s Documentary Prose  Natasha Gordinsky 3 Supplementing Evidence: Danilo Kiš’s Poet(h)ics in the Context of Yugoslav Documentarism of the 1960s  Tatjana Petzer 4 Hands of Time and Large Numbers in Alexander Kluge’s (Post-)Documentary Literature  Gunther Martens Part 2: Discovering the Self and the Other: Modes of Expressing Individuality 5 Celebration and Abstraction: the Documentary Mode of Jonas Mekas’s Diary Films  Christian Zehnder 6 Documentary and Poetics Interwoven: Mikhail Kalik’s Cinema  Elena Nekrasova 7 The Technique of Documenting: on the Early Reportages of Ryszard Kapuściński and Hanna Krall  Matthias Schwartz Part 3: Refining the Senses: Modes of Self-Reflective Artistic Practices 8 “Dramas of the Fact:” Soviet Conceptualisations of Documentary Theatre in the 1960s  Anna Hodel 9 “Instead of Approximate Precision—Precise Approximation:” Ian Satunovskii’s Poor Poetry  Georg Witte 10 Reproductions without an Original: the Self-Published Aesthetics of Cold War-Era Copies  Sarah A. Burgos Part 4: Exploring the Everyday: Modes of Perceiving Social Issues 11 The Trials of Documenting: Frida Vigdorova’s Notes of the Brodsky Court Proceedings  Anja Tippner 12 The Poetry of Mikhail Sokovnin: an Aesthetic Opposition to the “Literature of Fact”  Ilya Kukulin 13 “Discourses of Sobriety:” Documentary Aesthetics in Conceptual Art in the United States  Renate Wöhrer Index

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Book SynopsisThis volume focuses on the contribution of German-speaking refugees from Nazism to the performing arts in Britain, evaluating their role in broadcasting, theatre, film and dance from 1933 to the present. It contains essays evaluating the role of refugee artists in the BBC German Service, including the actor Martin Miller, the writer Bruno Adler and the journalist Edmund Wolf. Miller also made a career in the English theatre transcending the barrier of language, as did the actor Gerhard Hinze, whose transition to the English stage is an instructive example of adaptation to a new theatre culture. In film, language problems were mitigated by the technical possibilities of the medium, although stars like Anton Walbrook received coaching in English. Certainly, technicians from Central Europe, like the cameraman Wolf Suschitzky, helped establish the character of British film in the 1950s and 1960s. In dance theatre, language played little role, facilitating the influence in Britain of dance practitioners like Kurt Jooss and Sigurd Leeder. Finally, evaluating the reverse influence of émigrés on Germany, two essays discuss Erich Fried’s translations of Shakespeare and Peter Zadek’s early theatre career in Germany.Table of ContentsList of Illustrations Acknowledgements Introduction Radio Charmian Brinson: The Go-Between. Martin Miller’s Career in Broadcasting Jennifer Taylor: Is there Life after Kurt und Willi? Bruno Adler’s anti-Soviet Radio Series Zwei Genossen Ursula Seeber und Barbara Weidle: ‘England but not mine.’ Großbritannien im journalistischen Schaffen von Edmund Wolf Theatre Richard Dove: Gerhard Hinze or Gerard Heinz? A Life in two Acts Marian Malet: Litz Pisk, Dance and Theatre Manya Elrick: ‘Möglichst nah am Original.’ Erich Fried, Poet, Translator and would-be Performer Anna Nyburg: Margarete Berger Hamerschlag and the Theatre. Vienna, Rome, London Günther Rühle: Vom Englischen ins Deutsche. Peter Zadeks Weg ins deutsche Theater Anthony Grenville: Lutz Weltmann, Theatre Critic and Cultural Mediator in the AJR Information Dance Thomas Kampe: The Choreographer Hilde Holger. Between Three Worlds Clare Lidbury: Kurt Jooss and Sigurd Leeder. Refugees, Battle and Aftermath Film Christian Cargnelli: ‘Just part of my Continental charm.’ Anton Walbrooks Filmkarriere im britischen Exil Brigitte Mayr and Michael Omasta: A Lucky Man. Wolf Suschitzky – Photographer and Cameraman Obituary Wilfried Weinke: ‘...den Menschen und den Sachen auf den Grund zu kommen.’ Zu Leben und Werk von Jens Brüning Contributors Index

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