This article is intended to provide a sample of the architectural drawing undertaken by Spanish architects of the so-called ‘Madrid School’ in the 1960s. During that decade, a good number of ...architects were prominent within what came to be known as the ‘modern organic style’. This comprised works strongly rooted in the places where they were built and of considerable construction quality, thanks to the use of traditional materials. The article also has an objective on the theory front. In contrast with the relativism of criteria for evaluating art, it claims that it is possible to speak of a ‘canon of excellence’. The basis is a rigorous selection of the architects with the highest profiles in the years under consideration. This would rate drawings as of greater or lesser relevance, and see means of representing architecture as of more or of less significance at a given point in historical time.
Glauber Rocha is known as the visionary Brazilian director of landmark films, Black God, White Devil, Entranced Earth and Antonio das Mortes. Hitherto virtually unknown outside Brazil is that he was ...also a brilliant film critic and innovative thinker on world cinema. On Cinema brings together for the first time in the English language a comprehensive selection of Rocha's film writings, revealing for the first time to English-speaking readers the full critical power, inventiveness and vision of a great filmmaker. Rocha's writings, endowed with critical verve and humour, give insights into key moments of film history, as well as the politics of world cinema. Here he fearlessly confronts the film establishment and debates with a host of sacred filmmakers of the world pantheon. Included is Rocha's early criticism of Brazilian films, landmark manifestoes such as 'An Aesthetics of Hunger' and 'An Aesthetics of Dreams', articles about the development of Cinema Novo, and his international film criticism, including pieces on Charlie Chaplin, Orson Welles, James Dean, David Lean, John Huston, Stanley Kubrick, John Ford, Jean-Luc Godard, Pier Paolo Pasolini, Federico Fellini, Luis Bunuel, Luchino Visconti and Roberto Rossellini. The publication of On Cinema, edited by film scholar Ismail Xavier and in expert translation, is an international publishing event.
Mario Bava's Blood and Black Lace (1964) is commonly considered the archetypal giallo. This book examines its main narrative and stylistic aspects, including the groundbreaking prominence of violence ...and sadism and its use of color and lighting, as well as Bava's irreverent approach to genre and handling of the audience's expectations.
How has American cinema engaged with the rapid transformation of American cities and urban culture since the 1960s? And what role have films and film industries played in shaping and mediating ...cultural and economic change in the ‘postindustrial’ city? This interdisciplinary collection argues that cinema and cities have become increasingly intertwined in the era of urban branding, cultural industries, and ‘creative cities’. Spanning four decades of US urban history, from decline and crisis in the 1970s and 1980s to neoliberal restructuring, galloping globalization and accelerated gentrification in the 1990s and beyond, the book considers the complex, evolving relationship between moving image cultures and the urban environment in key cinematic cities such as New York, Los Angeles, Boston and Detroit. Across twelve chapters, the contributors address these questions via textual and industrial perspectives, analyzing questions of narrative, aesthetics, and genre as well as contexts of production, exhibition and reception. Drawing together critical concepts from film and urban studies, the chapters view contemporary cinema through the political and social geographies of class, race, gender, and sexuality. From Hollywood blockbusters to independent cinema, romantic comedy to science fiction, key films discussed include Frances Ha, Fruitvale Station, Desperately Seeking Susan, The King of New York, Inception, Doctor Strange, Only Lovers Left Alive and The Friends of Eddie Coyle.
What is the significance of gendered identification in relation to artists’ moving image? How do women artists grapple with the interlinked narratives of gender discrimination and gender identity in ...their work? In this groundbreaking book, a diverse range of leading scholars, activists, archivists and artists explore the histories, practices and concerns of women making film and video across the world, from the pioneering German animator Lotte Reiniger, to the influential African American filmmaker Julie Dash and the provocative Scottish contemporary artist Rachel Maclean. Opening with a foreword from the film theorist Laura Mulvey and a poem by the artist film-maker Lis Rhodes, Women Artists, Feminism and the Moving Image traces the legacies of early feminist interventions into the moving image and the ways in which these have been re-configured in the very different context of today. Reflecting and building upon the practices of recuperation that continue to play a vital role in feminist art practice and scholarship, essays discuss topics such as how multiculturalism is linked to experimental and activist film history, the function and nature of the essay film, feminist curatorial practices and much more. This book transports the reader across diverse cultural contexts and geographical contours, addressing complex narratives of subjectivity, representation and labour, while juxtaposing cultures of film, video and visual arts practice often held apart. As the editor, Lucy Reynolds, argues: it is at the point where art, moving image and feminist discourse converge that a rich and dynamic intersection of dialogue and exchange opens up, bringing to attention practices which might fall outside their separate spheres, and offering fresh perspectives and insights on those already established in its histories and canons.
This book is about the process of Americanization of Yugoslav culture and everyday life during the sixties. After having fallen out of the Eastern bloc, Tito turned to American backing. In political ...spheres distance was carefully guarded, yet in the realms of culture and consumption the Yugoslav regime was definitely much more receptive. For Titoist Yugoslavia this tactic turned out to be rewarding. It stabilised the regime internally and gave it an image of openness in foreign policy. The book addresses the link between cultural diplomacy, culture, consumer society and politics. The main argument is that both culture and everyday life modelled on the American way were a major source of legitimacy for the Yugoslav Communist Party, and a powerful weapon for both USA and Yugoslavia in the Cold War battle for hearts and minds. Vučetić explores how the Party used American culture in order to promote its own values and how life in this socialist and capitalist hybrid system looked like for ordinary people, living in a country with communist ideology wrapped in capitalist form. The book offers a careful reevaluation of the limits of appropriating the American dream. The analysis raises doubts toward both the uncritical celebration of Yugoslavia’s openness and the exaggerated picture of its authoritarianism.
More than 5,000 film festivals take place globally and many of these have only been established in the last two decades. International Film Festivals collects the leading scholarship on this ...increasingly prominent phenomenon from both historical and contemporary perspectives, using diverse methods including archival research, interviews and surveys and drawing widely from fields like sociology, urban studies and film criticism to patent technology and history. With contributors from across the world and covering the major festivals - Cannes, Venice, Toronto, Berlin - as well as niche, genre and online film festivals, this book is an authoritative and exemplary guide to the evolution of these key sites for film distribution, exhibition and reception. Chapters unravel topics such as the relationship between corporations and festivals, the soft power function they can perform for their host nations and the changing identities of audiences on arrival at, and during exploration of, a given festival venue. Tricia Jenkins' edited volume reconceives the film festival for the global, digital age whilst drawing out its historic importance and ultimately makes a major intervention in film festival studies as well as film and cultural studies more widely.
67 statt 68: Für einen erweiterten Begriff der Politik. Zu 68 ist vieles, wenn nicht alles gesagt worden. Aus dem "Ereignis" ist wahlweise ein "Gegenstand der Geschichtswissenschaft" oder ein ..."Mythos" geworden; die Übertreibungen sind zurückgenommen, die Irrtümer korrigiert. Vielleicht aber hat schon 68 selbst, nicht erst seine Nachgeschichte, einen zuvor entwickelten Begriff der Politik wieder verkürzt, indem es die radikalen Experimente in Kunst, Alltag und Theorie aus dem Feld des Politischen ausgrenzte, zu dem sie 1967 noch gehörten. Dieses Buch (re)konstruiert daher einen Zusammenhang von literarischen und theoretischen Texten, von Popmusik, Filmen, Aktionen und Grammatologie aus dem Jahr 1967 und schlägt vor, daraus eine alternative Chiffre abzuleiten: 67 als "Sondierung der Basisstruktur der Sprache" - und damit als Arbeit an den Grundlagen des Politischen überhaupt.
The Cinema of Norman Mailer: Film is Like Death not only examines the enfant terrible writer’s thoughts on cinema, but also features interviews with Norman Mailer himself. The Cinema of Norman Mailer ...also explores Mailer’s cinema through previously published and newly commissioned essays written by an array of film and literary scholars, enthusiasts, and those with a personal, philosophical connection to Mailer. This volume discusses the National Book Award and Pulitzer Prize-winning author and filmmaker’s six films created during the years of 1947 and 1987, and contends to show how Mailer’s films can be best read as cinematic delineations that visually represent many of the writer’s metaphysical and ontological concerns and ideas that appear in his texts from the 1950s until his passing in 2007. By re-examining Mailer’s cinema through these new perspectives, one may be awarded not just a deeper understanding of Mailer’s desire to make films, but also find a new, alternative vision of Mailer himself. Norman Mailer was not just a writer, but more: he was one of the most influential Postmodern artists of the twentieth century with deep roots in the cinema. He allowed the cinema to not only influence his aesthetic approach, but sanctioned it as his easiest-crafted analogy for exploring sociological imagination in his writing. Mailer once suggested, “Film is legitimately more interesting than books …” and with that in mind, readers of Norman Mailer might begin to rethink his oeuvre through the viewfinder of the film medium, as he was equally as passionate about working within cinema as he was about literature itself.
