Rendez Vous In Cannes A Warm Escapist Read For 202

This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling, and bolder forms of participatory art and criticism.

This book is a first step toward a serious reassessment of the mostly unspoken theoretical and aesthetic premises underlying auteur theory.

Daphne du Maurier: Writing, Identity and the Gothic Imagination is the first full-length evaluation of du Maurier's fiction and the first critical study of du Maurier as a Gothic writer. Horner and Zlosnik argue that the fears at the heart of du Maurier's Gothic fictions reflect both personal and broader cultural anxieties concerning sexual and social identity. Using the most recent work in Gothic and gender studies they enter the current debate on the nature of Female Gothic and raise questions about du Maurier's relationship to such a tradition.

Invaluable advice on the realities of being a published author, the best way to choose an agent, the marketing game, the give and take of collaboration, and much more.

With six Academy Awards, four entries on the American Film Institute's list of 100 greatest American movies, and more titles on the National Historic Register of classic films deemed worthy of preservation than any other director, Billy Wilder counts as one of the most accomplished filmmakers ever to work in Hollywood. Yet how American is Billy Wilder, the Jewish émigré from Central Europe? This book underscores this complex issue, unpacking underlying contradictions where previous commentators routinely smoothed them out. Wilder emerges as an artist with roots in sensationalist journalism and the world of entertainment as well as with an awareness of literary culture and the avant-garde, features that lead to productive and often highly original confrontations between high and low.

With more than 250 images, new information on international cinema—especially Polish, Chinese, Russian, Canadian, and Iranian filmmakers—an expanded section on African-American filmmakers, updated discussions of new works by major American directors, and a new section on the rise of comic book movies and computer generated special effects, this is the most up to date resource for film history courses in the twenty-first century.

They obsess over the nuances of a Douglas Sirk or Ingmar Bergman film; they revel in books such as François Truffaut's Hitchcock; they happily subscribe to the Sundance Channel—they are the rare breed known as cinephiles. Though much has been made of the classic era of cinephilia from the 1950s to the 1970s, Cinephilia documents the latest generation of cinephiles and their use of new technologies. With the advent of home theaters, digital recording devices, online film communities, cinephiles today pursue their dedication to film outside of institutional settings. A radical new history of film culture, Cinephilia breaks new ground for students and scholars alike.

Roger Crittenden reveals the experiences of many of the greatest living European film editors through his warm and perceptive interviews which offer a unique insight into the art of editing - direct from masters of the craft. In their interviews the editors relate their experience to the directors they have worked with, including: Agnes Guillemot- (Godard, Truffaut, Catherine Breillat) Roberto Perpignani- (Welles, Bertolucci, Tavianni Brothers) Sylvia Ingemarsson- (Ingmar Bergman) Michal Leszczylowski- (Andrei Tarkovsky, Lukas Moodysson) Tony Lawson (Nic Roeg, Stanley Kubrick, Neil Jordan) and many more. Foreword by Walter Murch - three-time Oscar-winning Editor of 'Apocalypse Now', 'The English Patient', 'American Graffiti', 'The Conversation' and 'The Godfather Part II and III'.

In its role as handbook, Hispanics and United States Film provides the best single source of information on Hispanic personalities in American film and on American films with a Hispanic focus produced from 1896 to the present time. Hundreds of films, actors, and other figures of the film industry are referenced. This informational component of the book, which provides titles, dates, and other filmographic information, is supplemented by a bibliography on the subject.

Casting fresh light on the renowned productions of auteurs like Antonioni, Fellini, and Bresson and drawing out from the shadows a range of important but lesser-known works, Screening Modernism is the first comprehensive study of European art cinema’s postwar heyday. Spanning from the 1950s to the 1970s, András Bálint Kovács’s encyclopedic work argues that cinematic modernism was not a unified movement with a handful of styles and themes but rather a stunning range of variations on the core principles of modern art. Illustrating how the concepts of modernism and the avant-garde variously manifest themselves in film, Kovács begins by tracing the emergence of art cinema as a historical category. He then explains the main formal characteristics of modern styles and forms as well as their intellectual foundation. Finally, drawing on modernist theory and philosophy along the way, he provides an innovative history of the evolution of modern European art cinema. Exploring not only modernism’s origins but also its stylistic, thematic, and cultural avatars, Screening Modernism ultimately lays out creative new ways to think about the historical periods that comprise this golden age of film.

French film in the 1980s might have lacked the invention of the New Wave but gritty police thrillers and nostalgic costume-dramas such as Jean de Florette and Manon des Sources brought French cinema to a wider audience than ever before. This landmark study is not merely a history of French film in the 1980s, but offers a set of critical essays on the crisis of masculinity in contemporary French culture, and its interrelationship with nostalgia. After a brief overview both of the crisis in the French film industry during the 1980s, and of the socio-political crisis of masculinity in the wake of 1970s feminism, the book is divided into three sections: the retro-nostalgic film, the Polar, or police thriller, and the comic film. Films studied in detail include Diva, Subway, Coup de foudre, Vivement dimanche , La Vie est un long fleuve tranquille, and Tenue de soir e, while the volume covers actors from G rard Depardieu, Daniel Auteuil, and Yves Montand to Isabelle Adjani, Isabelle Huppert, and Emmanuelle B art.

On the evening of May 16, 1937, the train doors opened at the Porte Dorée station in the Paris Métro to reveal a dying woman slumped by a window, an eight-inch stiletto buried to its hilt in her neck. No one witnessed the crime, and the killer left behind little forensic evidence. This first-ever murder in the Paris Métro dominated the headlines for weeks during the summer of 1937, as journalists and the police slowly uncovered the shocking truth about the victim: a twenty-nine-year-old Italian immigrant, the beautiful and elusive Laetitia Toureaux. Toureaux toiled each day in a factory, but spent her nights working as a spy in the seamy Parisian underworld. Just as the dangerous spy Mata Hari fascinated Parisians of an earlier generation, the mystery of Toureaux's murder held the French public spellbound in pre-war Paris, as the police tried and failed to identify her assassin. In Murder in the Métro, Gayle K. Brunelle and Annette Finley-Croswhite unravel Toureaux's complicated and mysterious life, assessing her complex identity within the larger political context of the time. They follow the trail of Toureaux's murder investigation to the Comité Secret d'Action Révolutionnaire, a secret right-wing political organization popularly known as the Cagoule, or "hooded ones." Obsessed with the Communist threat they perceived in the growing power of labor unions and the French left wing, the Cagoule's leaders aimed to overthrow France's Third Republic and install an authoritarian regime allied with Italy. With Mussolini as their ally and Italian fascism as their model, they did not shrink from committing violent crimes and fomenting terror to accomplish their goal. In 1936, Toureaux -- at the behest of the French police -- infiltrated this dangerous group of terrorists and seduced one of its leaders, Gabriel Jeantet, to gain more information. This operation, the authors show, eventually cost Toureaux her life. The tale of Laetitia Toureaux epitomizes the turbulence of 1930s France, as the country prepared for a war most people dreaded but assumed would come. This period, therefore, generated great anxiety but also offered new opportunities -- and risks -- to Toureaux as she embraced the identity of a "modern" woman. The authors unravel her murder as they detail her story and that of the Cagoule, within the popular culture and conflicted politics of 1930s France. By examining documents related to Toureaux's murder -- documents the French government has sealed from public view until 2038 -- Brunelle and Finley-Croswhite link Toureaux's death not only to the Cagoule but also to the Italian secret service, for whom she acted as an informant. Their research provides likely answers to the question of the identity of Toureaux's murderer and offers a fascinating look at the dark and dangerous streets of pre--World War II Paris.

Richard McCormick takes a fresh look at the crisis of gender in Weimar Germany through an analysis of selected cultural texts, both literary and film, characterized under the label "New Objectivity". The New Objectivity was marked by a sober, unsentimental embrace of urban modernity, in contrast to Expressionism's horror of technology and belief in "auratic" art. This sensibility was gendered as well as contradictory: while associated with male intellectuals, New Objectivity was best symbolized by the New Woman they feared (and desired). Moving skillfully from Caligari to Dietrich, McCormick traces the crisis of gender identities, both male and female, and reveals how a variety of narratives of the time displaced an assortment of social anxieties onto sexual relations.

Plymouth University academic, Dr Charlie Mansfield approaches literary tourism in this book initially from an historical perspective in order to define the phenomenon through a review of the existing academic literature in the field. The forms of literary tourism are analysed to provide a typology and from this the value of literary tourism is explained both from the visitor's point of view and the destination manager's. Current theories underpinning the existing literature on literary tourism, including Bourdieu's concept of cultural capital are reviewed. To extend the current state of research and to answer the research questions a case study of successful urban literary tourism is identified, in Brittany, France. The uses of French literature in literary tourism are reviewed to provide a sound basis on which to examine French texts and tourist destinations. Novel methods of field research are developed to formalise and to make reproducible the methodology for this study and for future work drawing on, and seeking to combine both literary theory and ethnography. Following a pilot study on the French Riviera the full discovery instruments are designed and applied in fieldwork on the case destination, Concarneau, using the detective novel, The Yellow Dog, which is set in Concarneau. Analysis of the findings from this provide a new contribution to the field of literary theory, in the area of reader interpellation, and answer the research questions in the form of a new set of recommendations for DMOs and tourism stakeholders. From the empirical study that used Web 2.0 social media, only available since 2013, an analysis of which novels do stimulate literary tourism is presented for the first time. Out of the research process new methods have been evolved, and are presented in the conclusion, for the DMO to synthesise and leverage digital resources. This provides DMOs with interpretation processes for its managed heritage to use with its local stakeholders in hotels and in tourism businesses. Finally, an innovative conceptualisation of what constitutes tourism knowledge is proposed.

This popular and critically acclaimed text, using movies to help learn about mental illness, is being fully updated with DSM-5 and ICD-10 diagnoses, dozens of evocative and informative frame grabs, a full film index, "Authors' Picks," sample syllabus, more international films and shorts.... Films can be a powerful aid to learning about mental illness and psychopathology – for students of psychology, psychiatry, social work, medicine, nursing, counseling, literature or media studies, and for anyone interested in mental health. Movies and Mental Illness, written by experienced clinicians and teachers who are themselves movie aficionados, has established a great reputation as a uniquely enjoyable and highly memorable text for learning about psychopathology. The new edition has been fully updated to include DSM-5 and ICD-10 diagnoses. The core clinical chapters each use a fabricated case history and Mini-Mental State Examination along with synopses and discussions about specific movies to explain, teach, and encourage discussion about all the most important mental health disorders. Each chapter also includes: Critical Thinking Questions; "Authors' Picks" (Top 10 Films); What To Read if You Only Have Time to Read One Book or Article; and Topics for Group Discussions. Other features of the new, expanded edition include: • Full index of films • Sample course syllabus • Ratings of around 1,500 films • Fascinating appendices, such as "Top 50 Heroes and Villains," psychotherapists in movies, misconceptions about mental illness in movies, and recommended websites. Do you want to propose a film for the 4th edition of Movies and Mental Illness? Have a look at the authors' blogspot! They welcome all comments on the films they already plan to discuss, or suggestions for films to include in the new edition!

This new volume in this influential series of anthologies covers the vibrant and turbulent period in which the editorial make-up and policy of the journal changed radically, and theory, history and politics dominated critical debate.

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.

This is the first collection of essays ever published on Martin Amis, one of England's most controversial and critically acclaimed authors. It assembles the ideas of twelve scholars from different countries to clarify the major trends and transitions in Amis's work. The essays will become an authoritative resource for scholars and students alike.