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When Did I See You Hungry?
by Gerard Thomas StraubThis book is about poverty and our responsibility to help those who are forced to live on the margins of society. The photographs in this book depict real people--suffering souls whose lives are spent in the harshly cruel prison of poverty. To look into their eyes, eyes that are profoundly human and tragically sad, compels the observer to want to do something to relieve the pain, to end the misery.
When Documentaries Meet New Media: Interactive Documentary Projects in China and the West
by Le CaoNew media and digital technologies open up numerous possibilities to document different versions of reality, which makes it essential to examine how they transform the logic behind the creation and production of documentaries in digital cultures. This study aims to investigate the integration between the traditional documentary and new media: the interactive documentary, in the context of the different sociocultural and technological environments of China and the West. Accordingly, a comparative study on the evolution and integration of these two fields was carried out. The documentary genre brings with it a method of classification and various modes of representing reality, while new media provide new approaches to interactivity as well as the production and distribution of interactive documentaries. Interactive documentaries grow and change as a continuously evolving system, engaging the roles of the author and the user, such that their roles are mixed for better co-expression and the reshaping of their shared environment. In addition, an analytical approach based on the types of interactivity was adopted to explore this new form of documentary; both to deduce how the stories about our shared world can be told and to understand the impact of interactive documentaries on the construction of our versions of the reality as well as our role in it.
When Eero Met His Match: Aline Louchheim Saarinen and the Making of an Architect
by Eva HagbergA uniquely personal biographical account of Louchheim’s life and work that takes readers inside the rarified world of architecture mediaAline B. Louchheim (1914–1972) was an art critic on assignment for the New York Times in 1953 when she first met the Finnish-American architect Eero Saarinen. She would become his wife and the driving force behind his rise to critical prominence. When Eero Met His Match draws on the couple’s personal correspondence to reconstruct the early days of their thrilling courtship and traces Louchheim’s gradual takeover of Saarinen’s public narrative in the 1950s, the decade when his career soared to unprecedented heights.Drawing on her own experiences as an architecture journalist on the receiving end of press pitches and then as a secret publicist for high-end architects, Eva Hagberg paints an unforgettable portrait of Louchheim while revealing the inner workings of a media world that has always relied on secrecy, friendship, and the exchange of favors. She describes how Louchheim codified the practices of architectural publicity that have become widely adopted today, and shows how, without Louchheim as his wife and publicist, Saarinen’s work would not have been nearly as well known.Providing a new understanding of postwar architectural history in the United States, When Eero Met His Match is both a poignant love story and a superb biographical study that challenges us to reconsider the relationship between fame and media representation, and the ways the narratives of others can become our own.
When Everybody Wore a Hat
by William SteigFrom the book: This is the story of when I was a boy, almost 100 years ago, when fire engines were pulled by horses, boys did not play with girls, kids went to libraries for books, there was no TV, you could see a movie for a nickel, and everybody wore a hat.
When Frankie Went to Hollywood: Frank Sinatra and American Male Identity
by Karen McnallyThis first in-depth study of Frank Sinatra's film career explores his iconic status in relation to his many performances in postwar Hollywood cinema. When Frankie Went to Hollywood considers how Sinatra's musical acts, television appearances, and public commentary impacted his screen performances in Pal Joey, The Tender Trap, Some Came Running, The Man with the Golden Arm, and other hits. A lively discussion of sexuality, class, race, ethnicity, and male vulnerability in postwar American culture illuminates Karen McNally's investigation into Sinatra's cinematic roles and public persona. This entertainment luminary, she finds, was central in shaping debates surrounding definitions of American male identity in the 1940s and '50s.
When Glitter Met Glue (When Pencil Met Eraser)
by Karen KilpatrickThe third hilarious picture book in the award-winning When Pencil Met Eraser series in which underappreciated Glue longs to stand out, and soon meets a new friend, Glitter, who helps bring out her inner sparkle, confidence, and creativity. Glue loves making art with her friends—especially pasting on googly eyes!—but sometimes she feels invisible. Instead of always being stuck in the background, Glue wants to be noticed like Pencil and colorful like the Markers! How can she find a way to stand out?When a new friend named Glitter arrives in a swirl of sparkles, Glue and Glitter team up to make something completely original and help Glue shine like the star she truly is.Karen Kilpatrick & Germán Blanco's When Glitter Met Glue spotlights art’s unsung hero—a glue bottle—in a hilarious and clever story that encourages creativity, self-acceptance, and spurs us all to recognize our inner shimmer.
When Harry Met Pablo: Truman, Picasso, and the Cold War Politics of Modern Art
by Matthew AlgeoTruman and Picasso were contemporaries and were both shaped by and shapers of the great events of the twentieth century—the man who painted Guernica and the man who authorized the use of atomic bombs against civilians. But in most ways, they couldn't have been more different. Picasso was a communist, and probably the only thing Harry Truman hated more than communists was modern art. Picasso was an indifferent father, a womanizer, and a millionaire. Truman was utterly devoted to his family and, despite his fame, far from a rich man. How did they come to be shaking hands in front of Picasso's studio in the south of France? Truman's meeting with Picasso was quietly arranged by Alfred H. Barr Jr., the founding director of New York's Museum of Modern Art and an early champion of Picasso. Barr knew that if he could convince these two ideological antipodes, the straight-talking politician from Missouri and the Cubist painter from MÁlaga, to simply shake hands, it would send a powerful message, not just to reactionary Republicans pushing McCarthyism at home, but to the whole world: modern art was not evil. Truman author Matthew Algeo retraced the Trumans' Mediterranean vacation and visited the places they went with Picasso, including Picasso's villa, Picasso's ceramics studio in Vallauris, and ChÂteau Grimaldi, a museum in Antibes.A rigorous history with a heartwarming center, When Harry Met Pablo intertwines the biographies of Truman and Picasso, the history of modern art, and twentieth-century American politics, but at its core it is the touching story of two old men who meet for the first time and realize they have more in common—and are more alike—than they ever imagined.
When Hollywood Had a King: The Reign of Lew Wasserman, Who Leveraged Talent into Power and Influence
by Connie BruckIn When Hollywood Had a King, the distinguished journalist Connie Bruck tells the sweeping story of MCA and its brilliant leader, a man who transformed the entertainment industry-- businessman, politician, tactician, and visionary Lew Wasserman. The Music Corporation of America was founded in Chicago in 1924 by Dr. Jules Stein, an ophthalmologist with a gift for booking bands. Twelve years later, Stein moved his operations west to Beverly Hills and hired Lew Wasserman. From his meager beginnings as a movie-theater usher in Cleveland, Wasserman ultimately ascended to the post of president of MCA, and the company became the most powerful force in Hollywood, regarded with a mixture of fear and awe. In his signature black suit and black knit tie, Was-serman took Hollywood by storm. He shifted the balance of power from the studios--which had seven-year contractual strangleholds on the stars--to the talent, who became profit partners. When an antitrust suit forced MCA's evolution from talent agency to film- and television-production company, it was Wasserman who parlayed the control of a wide variety of entertainment and media products into a new type of Hollywood power base. There was only Washington left to conquer, and conquer it Wasserman did, quietly brokering alliances with Democratic and Republican administrations alike. That Wasserman's reach extended from the underworld to the White House only added to his mystique. Among his friends were Teamster boss Jimmy Hoffa, mob lawyer Sidney Korshak, and gangster Moe Dalitz--along with Presidents Johnson, Clinton, and especially Reagan, who enjoyed a particularly close and mutually beneficial relationship with Wasserman. He was equally intimate with Hollywood royalty, from Bette Davis and Jimmy Stewart to Steven Spielberg, who began his career at MCA and once described Wasserman's eyeglasses as looking like two giant movie screens.The history of MCA is really the history of a revolution. Lew Wasserman ushered in the Hollywood we know today. He is the link between the old-school moguls with their ironclad studio contracts and the new industry defined by multimedia conglomerates, power agents, multimillionaire actors, and profit sharing. In the hands of Connie Bruck, the story of Lew Wasserman's rise to power takes on an almost Shakespearean scope. When Hollywood Had a King reveals the industry's greatest untold story: how a stealthy, enterprising power broker became, for a time, Tinseltown's absolute monarch.From the Hardcover edition.
When Hollywood Was Right
by Donald T. CritchlowHollywood was not always a bastion of liberalism. Following World War II, an informal alliance of movie stars, studio moguls and Southern California business interests formed to revitalize a factionalized Republican Party. Coming together were stars such as John Wayne, Robert Taylor, George Murphy and many others, who joined studio heads Cecil B. DeMille, Louis B. Mayer, Walt Disney and Jack Warner to rebuild the Republican Party. They found support among a large group of business leaders who poured money and skills into this effort, which paid off with the election of George Murphy to the US Senate and of Richard Nixon and Ronald Reagan to the highest office in the nation. This is an exciting story based on extensive new research that will forever change how we think of Hollywood politics.
When I Was a Photographer
by Felix NadarThe first complete English translation of Nadar's intelligent and witty memoir, a series of vignettes that capture his experiences in the early days of photography.Celebrated nineteenth-century photographer—and writer, actor, caricaturist, inventor, and balloonist—Félix Nadar published this memoir of his photographic life in 1900 at the age of eighty. Composed as a series of vignettes (we might view them as a series of “written photographs”), this intelligent and witty book offers stories of Nadar's experiences in the early years of photography, memorable character sketches, and meditations on history. It is a classic work, cited by writers from Walter Benjamin to Rosalind Krauss. This is its first and only complete English translation.In When I Was a Photographer (Quand j'étais photographe), Nadar tells us about his descent into the sewers and catacombs of Paris, where he experimented with the use of artificial lighting, and his ascent into the skies over Paris in a hot air balloon, from which he took the first aerial photographs. He recounts his “postal photography” during the 1870-1871 Siege of Paris—an amazing scheme involving micrographic images and carrier pigeons. He describes technical innovations and important figures in photography, and offers a thoughtful consideration of society and culture; but he also writes entertainingly about such matters as Balzac's terror of being photographed, the impact of a photograph on a celebrated murder case, and the difference between male and female clients. Nadar's memoir captures, as surely as his photographs, traces of a vanished era.
When I Was a Photographer
by Felix Nadar Eduardo Cadava Liana TheodoratouCelebrated nineteenth-century photographer -- and writer, actor, caricaturist, inventor, and balloonist -- Félix Nadar published this memoir of his photographic life in 1900 at the age of eighty. Composed as a series of vignettes (we might view them as a series of "written photographs"), this intelligent and witty book offers stories of Nadar's experiences in the early years of photography, memorable character sketches, and meditations on history. It is a classic work, cited by writers from Walter Benjamin to Rosalind Krauss. This is its first and only complete English translation. In When I Was a Photographer (Quand j'étais photographe), Nadar tells us about his descent into the sewers and catacombs of Paris, where he experimented with the use of artificial lighting, and his ascent into the skies over Paris in a hot air balloon, from which he took the first aerial photographs. He recounts his "postal photography" during the 1870-1871 Siege of Paris -- an amazing scheme involving micrographic images and carrier pigeons. He describes technical innovations and important figures in photography, and offers a thoughtful consideration of society and culture; but he also writes entertainingly about such matters as Balzac's terror of being photographed, the impact of a photograph on a celebrated murder case, and the difference between male and female clients. Nadar's memoir captures, as surely as his photographs, traces of a vanished era.
When I Was Cool: My Life at the Jack Kerouac School
by Sam KashnerFirst student of the Jack Kerouac School of Disembodied Poetics, Sam Kashner tells with humor and grace his life with the Beats. But the best story is Kashner himself -- the coming-of-age of a young man in the chaotic world of the very idols he hoped to emulate.This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.
When I Was Summer
by J. B. HowardA relatable novel about unrequited love, rock 'n' roll, and what you find when you go searching for yourself.Sixteen-year-old Nora Wakelin has always felt like an outsider in her own family. Her parents and older sister love her, but they don't understand anything about her: not her passion for music, not her all-encompassing crush on her bandmate Daniel (who is very much unavailable), not her recklessness and impulsiveness. Nora has always imagined that her biological mother might somehow provide the answer as to why she feels like such an outsider. Through internet stalking and leaps of logic, Nora identifies three women living elsewhere in California who seem like they could be her biological mother. So she sets out to track them each down, one by one, under the pretense of a statewide tour with her rock band, Blue Miles. Three cities, three gigs, three possible birth mothers--it sounds so easy.But once they're on the road, of course, it's anything but easy. Nora wants to be with Daniel, she wants to find her birth mother, she wants to keep her parents happy, she wants the band to stay together, and she wants to know why she is the way she is. But she won't be the first musician to find out that, while you can't always get what you want, sometimes you get what you need.
When I Was Your Age: Life Lessons, Funny Stories & Questionable Parenting Advice from a Professional Clown
by Kenan ThompsonWhen I Was Your Age is a hilarious, heartwarming and surprising ode to growing up, getting older and wiser, and luck, life, and learning from the school of hard knocks, from SNL's longest-serving actor, Kenan ThompsonKenan Thompson is Saturday Night Live’s longest-ever-serving cast member and a star of such pioneering sketches as “Black Jeopardy” and is hugely beloved thanks to a tidal wave of nostalgic fans who grew up on early 2000s classics All That, Good Burger, and Kenan & Kel on Nickelodeon.He’s also a dad (to two girls) in his mid-40s living in suburbia, and whose universal, relatable, family-friendly humor has created unbelievable appeal and engagement from fans from middle America to coastal elites. Becoming a dad sucked the cool right out of him -- and he's OK with that!When I Was Your Age is packed with hilarious yet poignant essays that are aimed to offer any reader valuable advice on parenting, focusing on positivity, and having fun in life. Kids, new parents, fellow fathers, budding comics, and aunties who want to pinch his cheeks, can all learn from his biggest mistakes and most triumphant victories. There’s something for everybody here!
When It's Real (Harlequin Teen)
by Erin WattWealth, fame and a real-life romance she never expected-seventeen-year-old Vaughn Bennett lands it all when she agrees to become a pop star's fake girlfriend in this smart, utterly addictive novel from #1 New York Times bestselling author duo Erin Watt Under ordinary circumstances, Oakley Ford and Vaughn Bennett would never even cross paths. There's nothing ordinary about Oakley. This bad-boy pop star's got Grammy Awards, millions of fangirls and a reputation as a restless, too-charming troublemaker. But with his home life disintegrating, his music well suddenly running dry and the tabloids having a field day over his outrageous exploits, Oakley needs to show the world he's settling down-and who better to help him than Vaughn, a part-time waitress trying to help her family get by? The very definition of ordinary. Posing as his girlfriend, Vaughn will overhaul Oakley's image from troublemaker to serious artist. In return for enough money to put her brothers through college, she can endure outlandish Hollywood parties and carefully orchestrated Twitter exchanges. She'll fool the paparazzi and the groupies. She might even start fooling herself a little. Because when ordinary rules no longer apply, there's no telling what your heart will do...
When Ivory Towers Were Black: A Story about Race in America's Cities and Universities
by James Stewart Polshek Sharon Egretta SuttonWhen Ivory Towers Were Black lies at the potent intersection of race, urban development, and higher education. It tells the story of how an unparalleled cohort of ethnic minority students earned degrees from a world-class university. The story takes place in New York City at Columbia University’s School of Architecture and spans a decade of institutional evolution that mirrored the emergence and denouement of the Black Power Movement. Chronicling a surprisingly little-known era in U.S. educational, architectural, and urban history, the book traces an evolutionary arc that begins with an unsettling effort to end Columbia’s exercise of authoritarian power on campus and in the community, and ends with an equally unsettling return to the status quo. When Ivory Towers Were Black follows two university units that steered the School of Architecture toward an emancipatory approach to education early along its evolutionary arc: the school’s Division of Planning and the university-wide Ford Foundation–funded Urban Center. It illustrates both units’ struggle to open the ivory tower to ethnic minority students and to involve them, and their revolutionary white peers, in improving Harlem’s slum conditions. The evolutionary arc ends as backlash against reforms wrought by civil rights legislation grew and whites bought into President Richard M. Nixon’s law-and-order agenda. The story is narrated through the oral histories of twenty-four Columbia alumni who received the gift of an Ivy League education during this era of transformation but who exited the School of Architecture to find the doors of their careers all but closed due to Nixon-era urban disinvestment policies. When Ivory Towers Were Black assesses the triumphs and subsequent unraveling of this bold experiment to achieve racial justice in the school and in the nearby Harlem/East Harlem community. It demonstrates how the experiment’s triumphs lived on not only in the lives of the ethnic minority graduates but also as best practices in university/community relationships and in the fields of architecture and urban planning. The book can inform contemporary struggles for racial and economic equality as an array of crushing injustices generate movements similar to those of the 1960s and ’70s. Its first-person portrayal of how a transformative process was reversed can help extend the period of experimentation, and it can also help reopen the door of opportunity to ethnic minority students, who are still in strikingly short supply in elite professions like architecture and planning.
When Janey Comes Marching Home
by Laura Browder Sascha PflaegingWhile women are officially barred from combat in the American armed services, in the current war, where there are no front lines, the ban on combat is virtually meaningless. More than in any previous conflict in our history, American women are engaging with the enemy, suffering injuries, and even sacrificing their lives in the line of duty.When Janey Comes Marching Home juxtaposes forty-eight photographs by Sascha Pflaeging with oral histories collected by Laura Browder to provide a dramatic portrait of women at war. Women from all five branches of the military share their stories here--stories that are by turns moving, comic, thought-provoking, and profound. Seeing their faces in stunning color photographic portraits and reading what they have to say about loss, comradeship, conflict, and hard choices will change the ways we think about women and war. Serving in a combat zone is an all-encompassing experience that is transformative, life-defining, and difficult to leave behind. By coming face-to-face with women veterans, we who are outside that world can begin to get a sense of how the long wars in Iraq and Afghanistan have shaped their lives and how their stories may ripple out and influence the experiences of all American women.The book accompanies a photography exhibit of the same name opening May 1, 2010, at the Women in Military Service to America Memorial at Arlington National Cemetery, and continuing to travel around the country through 2011.
When life gives you lemons: Turning Sour Photos Into Sweet Scrapbook Layouts
by Sherry StevesonHonor your sweetest memories - even with sour photos! We all find ourselves with a lemon or two - you know, those photos you get when the lighting is bad or your child runs out of the frame. And when they happen to be your only images of an important event or a special memory, that's when things get really sour. It may be impossible to perfectly capture every moment, but that doesn't mean you can't turn flawed photos into fabulous layouts. When Life Gives You Lemonsshows you how to: Use embellishments, transparencies and journaling to disguise photo flaws and minimize distracting backgrounds. Work with blurry, cut-off or poorly framed photos to enhance the theme of a page. Infuse page designs with energy to draw the eye away from imperfections. Edit your images in Photoshop Elements to correct color, remove glare, convert photos to black and white and more. Life doesn't have do-overs, but withWhen Life Gives You Lemonsas your guide, you won't need them! Bring your most perfect memories to life on the page - less-than perfect photos and all.
When Marilyn Met the Queen: Marilyn Monroe's Life in England
by Michelle Morgan'England? It seemed to be raining the whole time . . . Or maybe it was me'MARILYN MONROEIn July 1956, Marilyn Monroe arrived in London, on honeymoon with her husband Arthur Miller, to make The Sleeping Prince (later released as The Prince and the Showgirl) with Laurence Olivier. When the couple arrived at London Airport, they were looking forward to a peaceful stay. Marilyn would work during the day at Pinewood Studios, while Arthur would write. Then, in the evening, the couple would be able to relax together in their private English country cottage. It didn't quite turn out that way.The 'cottage' was actually a mansion, which belonged to Lord Drogheda, the managing director of the Financial Times. Raised in tiny hotel rooms and apartments, Marilyn felt herself being watched. She was, by Lord Drogheda's servants, who were selling stories to the papers. When filming began, it was a disaster. Director Joshua Logan had written to Olivier, offering advice on how to handle Marilyn as an actress, but Olivier ignored him. Instead, he condescended to her in his introduction to the cast, pooh-poohed her views on acting, and dismissed her stage-fright as an inconvenience. Marilyn grew to hate Olivier with a passion; the feeling was mutual.Marilyn found herself torn between settling into married life, being a curiosity for the frequently hostile British press, and her work on The Prince and the Showgirl. She took solace in small acts of kindness from members of the public, and a new fascination with Queen Elizabeth.Marilyn made a point of adopting some of the Queen's favourite brands, buying gloves from Cornelia James, perfume from Floris, and switching from Chanel No. 5 to Yardley's Lavender. Marilyn made a point of asking the film's PR manager to add a royal meeting to her schedule, but each day Olivier would delete the request. Michelle Morgan describes Marilyn's trip to late-1950s' Britain in evocative detail, exploring the making of the film alongside the film star's troubled private life and her quest to meet the Queen.
When Marilyn Met the Queen: Marilyn Monroe's Life in England
by Michelle Morgan'England? It seemed to be raining the whole time . . . Or maybe it was me'MARILYN MONROEIn July 1956, Marilyn Monroe arrived in London, on honeymoon with her husband Arthur Miller, to make The Sleeping Prince (later released as The Prince and the Showgirl) with Laurence Olivier. When the couple arrived at London Airport, they were looking forward to a peaceful stay. Marilyn would work during the day at Pinewood Studios, while Arthur would write. Then, in the evening, the couple would be able to relax together in their private English country cottage. It didn't quite turn out that way.The 'cottage' was actually a mansion, which belonged to Lord Drogheda, the managing director of the Financial Times. Raised in tiny hotel rooms and apartments, Marilyn felt herself being watched. She was, by Lord Drogheda's servants, who were selling stories to the papers. When filming began, it was a disaster. Director Joshua Logan had written to Olivier, offering advice on how to handle Marilyn as an actress, but Olivier ignored him. Instead, he condescended to her in his introduction to the cast, pooh-poohed her views on acting, and dismissed her stage-fright as an inconvenience. Marilyn grew to hate Olivier with a passion; the feeling was mutual.Marilyn found herself torn between settling into married life, being a curiosity for the frequently hostile British press, and her work on The Prince and the Showgirl. She took solace in small acts of kindness from members of the public, and a new fascination with Queen Elizabeth.Marilyn made a point of adopting some of the Queen's favourite brands, buying gloves from Cornelia James, perfume from Floris, and switching from Chanel No. 5 to Yardley's Lavender. Marilyn made a point of asking the film's PR manager to add a royal meeting to her schedule, but each day Olivier would delete the request. Michelle Morgan describes Marilyn's trip to late-1950s' Britain in evocative detail, exploring the making of the film alongside the film star's troubled private life and her quest to meet the Queen.
When Marilyn Met the Queen: Marilyn Monroe's Life in England
by Michelle Morgan'England? It seemed to be raining the whole time . . . Or maybe it was me'MARILYN MONROEIn July 1956, Marilyn Monroe arrived in London, on honeymoon with her husband Arthur Miller, to make The Sleeping Prince (later released as The Prince and the Showgirl) with Laurence Olivier. When the couple arrived at London Airport, they were looking forward to a peaceful stay. Marilyn would work during the day at Pinewood Studios, while Arthur would write. Then, in the evening, the couple would be able to relax together in their private English country cottage. It didn't quite turn out that way.The 'cottage' was actually a mansion, which belonged to Lord Drogheda, the managing director of the Financial Times. Raised in tiny hotel rooms and apartments, Marilyn felt herself being watched. She was, by Lord Drogheda's servants, who were selling stories to the papers. When filming began, it was a disaster. Director Joshua Logan had written to Olivier, offering advice on how to handle Marilyn as an actress, but Olivier ignored him. Instead, he condescended to her in his introduction to the cast, pooh-poohed her views on acting, and dismissed her stage-fright as an inconvenience. Marilyn grew to hate Olivier with a passion; the feeling was mutual.Marilyn found herself torn between settling into married life, being a curiosity for the frequently hostile British press, and her work on The Prince and the Showgirl. She took solace in small acts of kindness from members of the public, and a new fascination with Queen Elizabeth.Marilyn made a point of adopting some of the Queen's favourite brands, buying gloves from Cornelia James, perfume from Floris, and switching from Chanel No. 5 to Yardley's Lavender. Marilyn made a point of asking the film's PR manager to add a royal meeting to her schedule, but each day Olivier would delete the request. Michelle Morgan describes Marilyn's trip to late-1950s' Britain in evocative detail, exploring the making of the film alongside the film star's troubled private life and her quest to meet the Queen.
When Modern Became Contemporary Art: The Idea of Australian Art, 1962-1988
by Charles Green Heather BarkerThis book is a portrait of the period when modern art became contemporary art. It explores how and why writers and artists in Australia argued over the idea of a distinctively Australian modern and then postmodern art from 1962, the date of publication of a foundational book, Australian Painting 1788–1960, up to 1988, the year of the Australian Bicentennial.Across nine chapters about art, exhibitions, curators and critics, this book describes the shift from modern art to contemporary art through the successive attempts to define a place in the world for Australian art. But by 1988, Australian art looked less and less like a viable tradition inside which to interpret ‘our’ art. Instead, vast gaps appeared, since mostly male and often older White writers had limited their horizons to White Australia alone. National stories by White men, like borders, had less and less explanatory value. Underneath this, a perplexing subject remained: the absence of Aboriginal art in understanding what Australian art was during the period that established the idea of a distinctive Australian modern and then contemporary art.This book reflects on why the embrace of Aboriginal art was so late in art museums and histories of Australian art, arguing that this was because it was not part of a national story dominated by colonial, then neo-colonial dependency. It is important reading for all scholars of both global and Australian art, and for curators and artists.
When Movies Were Theater: Architecture, Exhibition, and the Evolution of American Film (Film and Culture Series)
by William PaulThere was a time when seeing a movie meant more than seeing a film. The theater itself shaped the very perception of events on screen. This multilayered history tells the story of American film through the evolution of theater architecture and the surprisingly varied ways movies were shown, ranging from Edison's 1896 projections to the 1968 Cinerama premiere of Stanley Kubrick's 2001. William Paul matches distinct architectural forms to movie styles, showing how cinema's roots in theater influenced business practices, exhibition strategies, and film technologies.
When Music Takes Over in Film (Palgrave Studies in Audio-Visual Culture)
by Anna K. Windisch Claus Tieber Phil PowrieThis open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what we hear. As one potential approach, this definition provokes a variety of perspectives to investigate the disruptive potential of these moments and numbers as a creative device in the production of audiovisual narratives. In this sense, the book responds to a need for an anthology that introduces students as well as scholars of cinema, musicology, media studies and cultural studies more broadly, to recent discourses in film music scholarship. The volume includes contributions by early career researchers as well as by established experts in the fields of musicology, film studies, media studies, and cultural studies, promoting cross-disciplinary collaboration in film music research.
When Night Breaks (Kingdom of Cards #2)
by Janella AngelesIn Janella Angeles's When Night Breaks, the dramatic last act of the Kingdom of Cards duology, the stage is set, the spectacle awaits… and the show must finally come to an end.The competition has come to a disastrous end, and Daron Demarco’s fall from grace is front-page news. But little matters to him beyond Kallia, the contestant he fell for who is now missing and in the hands of a dangerous magician. Daron is willing to do whatever it takes to find her. Even if it means unearthing secrets that lead him on a treacherous journey, risking more than his life and with no promise of return.After falling through the mirror, Kallia has never felt more lost, mourning everything she left behind and the boy she can’t seem to forget. Only Jack, the magician who has all the answers but can’t be trusted, remains at her side. Together, they must navigate a dazzling world where mirrors show memories and illusions shadow every corner, ruled by a powerful showman who’s been waiting for Kallia to finally cross his stage. But beneath the glamour of dueling headliners and never-ending revelry, a sinister force falls like night over everyone, with the dark promise of more—more power beyond Kallia’s wildest imagination, and at a devastating cost.The truth will come out, a kingdom must fall, hearts will collide.And the show must finally come to an end.