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| Author | : Bernhard Siegert |
| Publisher | : Fordham Univ Press |
| Total Pages | : 286 |
| Release | : 2015-05-01 |
| Genre | : Social Science |
| ISBN | : 0823263770 |
In a crucial shift within posthumanistic media studies, Bernhard Siegert dissolves the concept of media into a network of operations that reproduce, displace, process, and reflect the distinctions fundamental for a given culture. Cultural Techniques aims to forget our traditional understanding of media so as to redefine the concept through something more fundamental than the empiricist study of a medium’s individual or collective uses or of its cultural semantics or aesthetics. Rather, Siegert seeks to relocate media and culture on a level where the distinctions between object and performance, matter and form, human and nonhuman, sign and channel, the symbolic and the real are still in the process of becoming. The result is to turn ontology into a domain of all that is meant in German by the word Kultur. Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting, or image-making. The analysis of artifacts as cultural techniques emphasizes their ontological status as “in-betweens,” shifting from firstorder to second-order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational. Cultural Techniques ranges from seafaring, drafting, and eating to the production of the sign-signaldistinction in old and new media, to the reproduction of anthropological difference, to the study of trompe-l’oeils, grids, registers, and doors. Throughout, Siegert addresses fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic. Grounding posthumanist theory both historically and technically, this book opens up a crucial dialogue between new German media theory and American postcybernetic discourses.
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| Total Pages | : 268 |
| Release | : 2018 |
| Genre | : Art |
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This broad collective exhibition reflects the vitality and vivacity of the art scene in all its complexity, displaying the different creative trends which took hold in the city inside and outside the School of Paris at a time of fervent political debate, held to the backdrop of the new global stage opened by the Cold War. From a broad array of artistic fields, from painting and sculpture to jazz, literature and film, foreign artists dealt with mounting tension by bringing their approaches and hopes to the Parisian milieu in an attempt to connect with the tradition of international modernism but without losing a grip on their own cultural identity.
| Author | : Saverio Giovacchini |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 407 |
| Release | : 2011-10-11 |
| Genre | : Performing Arts |
| ISBN | : 1628468882 |
Contributions by Nathaniel Brennan, Luca Caminati, Silvia Carlorosi, Caroline Eades, Saverio Giovacchini, Paula Halperin, Neepa Majumdar, Mariano Mestman, Hamid Naficy, Sada Niang, Masha Salazkina, Sarah Sarzynski, Robert Sklar, and Vito Zagarrio Intellectual, cultural, and film historians have long considered neorealism the founding block of post-World War II Italian cinema. Neorealism, the traditional story goes, was an Italian film style born in the second postwar period and aimed at recovering the reality of Italy after the sugarcoated moving images of fascism. Lasting from 1945 to the early 1950s, neorealism produced world-renowned masterpieces such as Roberto Rossellini's Roma, città aperta (Rome, Open City, 1945) and Vittorio De Sica's Ladri di biciclette (Bicycle Thieves, 1947). These films won some of the most prestigious film awards of the immediate postwar period and influenced world cinema. This collection brings together distinguished film scholars and cultural historians to complicate this nation-based approach to the history of neorealism. The traditional story notwithstanding, the meaning and the origins of the term are problematic. What does neorealism really mean, and how Italian is it? Italian filmmakers were wary of using the term and Rossellini preferred "realism." Many filmmakers confessed to having greatly borrowed from other cinemas, including French, Soviet, and American. Divided into three sections, Global Neorealism examines the history of this film style from the 1930s to the 1970s using a global and international perspective. The first section examines the origins of neorealism in the international debate about realist esthetics in the 1930s. The second section discusses how this debate about realism was “Italianized” and coalesced into Italian “neorealism” and explores how critics and film distributors participated in coining the term. Finally, the third section looks at neorealism’s success outside of Italy and examines how film cultures in Latin America, Africa, Asia, and the United States adjusted the style to their national and regional situations.
| Author | : Mark Betz |
| Publisher | : U of Minnesota Press |
| Total Pages | : 363 |
| Release | : 2009 |
| Genre | : Performing Arts |
| ISBN | : 0816640351 |
Examining European art films of the 1950s and 1960s, Mark Betz argues that it istime for film analysis to move beyond prevailing New Wave historiography, mired in outdated notions of nationalism and dragged down by decades of auteurist criticism. Focusing on the cinemas of France and Italy, Betz reveals how the flowering of European art films in the postwar era is inseparable from the complex historical and political frameworks of the time.
| Author | : Tirtha Man Maskey |
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| Total Pages | : 168 |
| Release | : 2008 |
| Genre | : Crocodiles |
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| Author | : Peter Levenda |
| Publisher | : Nicolas-Hays, Inc. |
| Total Pages | : 480 |
| Release | : 2019-11-15 |
| Genre | : History |
| ISBN | : 0892546808 |
In June of 1979, Peter Levenda flew to Chile—then under martial law—to investigate claims that a mysterious colony and torture center in the Andes Mountains held a key to the relationship between Nazi ideology and its post-war survival on the one hand, and occult ideas and practices on the other. He was detained there briefly and released with a warning: “You are not welcome in this country.” The people who warned him were not Chileans but Germans, not government officials but agents of the assassination network Operation Condor. They were also Nazis, providing a sanctuary for men like Josef Mengele, Hans-Ulrich Rudel, and Otto Skorzeny. In other words: ODESSA. Published in 1995, Unholy Alliance was the first book in English on the subject of Nazi occultism to be based on the captured Nazi archives themselves, as well as on the author’s personal investigations and interviews, often conducted under dangerous conditions. The book attracted the attention of historians and journalists the world over and has been translated into six languages. A later edition boasts the famous foreword by Norman Mailer. How did occultism come to play such an important role in the development of Nazi political ideology? What influence did such German and Austrian occult leaders as Lanz von Liebenfels and Guido von List have over the fledgling Nazi party? What was the Thule Gesellschaft, and who was its creator, Baron von Sebottendorf? Did the Nazi high command really believe in occultism? In astrology? In magic and reincarnation? This is a new and expanded edition of the original text, with much additional information on the rise of extremist groups in Europe, Latin America, Asia, and the United States and the esoteric beliefs that are at their foundations. It is the first book in a trilogy that includes Ratline and The Hitler Legacy. This is where it all began.
| Author | : Nataša Durovicová |
| Publisher | : Routledge |
| Total Pages | : 681 |
| Release | : 2009-09-10 |
| Genre | : Performing Arts |
| ISBN | : 1135869979 |
SCMS Award Winner "Best Edited Collection" The standard analytical category of "national cinema" has increasingly been called into question by the category of the "transnational." This anthology examines the premises and consequences of the coexistence of these two categories and the parameters of historiographical approaches that cross the borders of nation-states. The three sections of World Cinemas, Transnational Perspectives cover the geopolitical imaginary, transnational cinematic institutions, and the uneven flow of words and images.
| Author | : Robin D. G. Kelley |
| Publisher | : Harvard University Press |
| Total Pages | : 267 |
| Release | : 2012-03-13 |
| Genre | : Biography & Autobiography |
| ISBN | : 0674065247 |
In Bedford-Stuyvesant, Brooklyn, pianist Randy Weston and bassist Ahmed Abdul-Malik celebrated with song the revolutions spreading across Africa. In Ghana and South Africa, drummer Guy Warren and vocalist Sathima Bea Benjamin fused local musical forms with the dizzying innovations of modern jazz. These four were among hundreds of musicians in the 1950's and '60's who forged connections between jazz and Africa that definitively reshaped both their music and the world. Each artist identified in particular ways with Africa's struggle for liberation and made music dedicated to, or inspired by, demands for independence and self-determination. That music was the wild, boundary-breaking exultation of modern jazz. The result was an abundance of conversation, collaboration, and tension between African and African American musicians during the era of decolonization. This collective biography demonstrates how modern Africa reshaped jazz, how modern jazz helped form a new African identity, and how musical convergences and crossings altered politics and culture on both continents. In a crucial moment when freedom electrified the African diaspora, these black artists sought one another out to create new modes of expression. Documenting individuals and places, from Lagos to Chicago, from New York to Cape Town, Robin Kelley gives us a meditation on modernity: we see innovation not as an imposition from the West but rather as indigenous, multilingual, and messy, the result of innumerable exchanges across a breadth of cultures.
| Author | : Carlos Henrique Cardim |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2011 |
| Genre | : Brazil |
| ISBN | : 9788576312840 |
