Publisher: Columbia University Press
Publication Year: 2015
Francesco Casetti believes new media technologies are producing an exciting new era in cinema aesthetics. Whether we experience film in the theater, on our hand-held devices, in galleries and museums, onboard and in flight, or up in the clouds in the bits we download, cinema continues to alter our habits and excite our imaginations.
Publisher: University of Chicago Press
Publication Year: 2015
When we speak of clouds these days, it is as likely that we mean data clouds or network clouds as cumulus or stratus. In their sharing of the term, both kinds of clouds reveal an essential truth: that the natural world and the technological world are not so distinct.
Thomas Bernhard, Architecture, and Bildung
Publisher: Northwestern University Press
Publication Year: 2015
How We Learn Where We Live opens new avenues into thinking about one of the most provocative writers of the twentieth century, Thomas Bernhard. In one of the first English studies of his work, Fatima Naqvi focuses on the Austrian author’s critique of education (Bildung) through the edifices in which it takes place. She demonstrates that both literature and architecture are implicated in the concept of Bildung. His writings insist that learning has always been a life-long process that is helped—...
Publisher: University of California Press
Publication Year: 2014
57 essays by André Bazin on Television, 3D, Cinerama and CinemaScope, collected, translated, annotated, and introduced.
Publisher: University of Wisconsin Press
Publication Year: 2013
Harriet Beecher Stowe’s 1852 antislavery novel Uncle Tom’s Cabin was the nineteenth century’s best-selling novel worldwide; only the Bible outsold it. It was known not only as a book but through stage productions, films, music, and commercial advertising as well. But how was Stowe’s novel—one of the watershed works of world literature—actually received outside of the American context? True Songs of Freedom explores one vital sphere of Stowe’s influence: Russia and the Soviet Union, from the...
Publisher: Harper Collins
Publication Year: 2012
Alison Bechdel’s Fun Home was a pop culture and literary phenomenon. Now, a second thrilling tale of filial sleuthery, this time about her mother: voracious reader, music lover, passionate amateur actor. Also a woman, unhappily married to a closeted gay man, whose artistic aspirations simmered under the surface of Bechdel’s childhood … and who stopped touching or kissing her daughter good night, forever, when she was seven.
Publisher: Wiley-Blackwell
Publication Year: 2012
“A Companion to Rainer Werner Fassbinder is the first of its kind to engage with this important figure. Twenty-eight essays by an international group of scholars consider this controversial director’s contribution to German cinema, German history, gender studies, and auteurship.
Publisher: Harvard University Press
Publication Year: 2011
Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. In so doing it provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin.
Publisher: Synema
Publication Year: 2011
Epic voices coming from a televisual nowhere. A translational labor of love that relies on loss. Deceptive surfaces that hide what is most important. Intimate spheres that are supposed to create a new public sphere. Historical inaccuracy that forces a deeper awareness of history. Blindness and misunderstanding that condition understanding. These are some of the tensions that drive Haneke’s work.
Publisher: University of California Press
Publication Year: 2010
Japan has done marvelous things with cinema, giving the world the likes of Kurosawa, Mizoguchi, and Ozu. But cinema did not arrive in Japan fully formed at the end of the nineteenth century, nor was it simply adopted into an ages-old culture. Aaron Gerow explores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. He focuses in particular on how one trend in criticism, the Pure Film Movement, changed not only the way films were made, but...
