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The Retirement of Daniel Fairfax
For many, the transition from work to retirement is easy but not so for Daniel Fairfax. After a lifetime as a professional criminal, Daniel resigns himself to a retirement at Her Majesty's pleasure. That is until Lady Luck hands him a get out of jail free card even he never saw coming. But now Daniel's a fugitive from the law. Not only that, he further complicates matters through a spur-of-the-moment decision that finds him on the run from his crime boss as well. In this comic tale, Daniel makes his escape across the channel, travelling between Spain and France, in a desperate attempt to orchestrate his freedom and ultimately, a safer future. But nothing is ever that simple. It seems that Daniel's efforts to retire peacefully are thwarted by happenchance, and farce, through a series of unfortunate and hilarious circumstances that will have you convinced that Daniel Fairfax will never achieve a peaceful retirement. Or will he?
Towards a Political Aesthetics of Cinema
Towards a Political Aesthetics of Cinema: The Outside of Film is a contribution to an aesthetics of cinema rooted in Marxist theory. Rather than focusing on the role that certain films, or the cinema as an institution, might play in political consciousness, the book asks a different question: how can the subject of politics in film be thought? This problem is presented in a systematic-theoretical rather than historical manner. The main aim of this book is a retrospective rehabilitation of the psychoanalytical concept of "suture," whose political core is progressively revealed. In a second step, this rereading of "suture"-theory is mediated with the Marxist aesthetics of Fredric Jameson. From the perspective of this reconfigured aesthetics of negativity, films by Hitchcock, Antonioni, Haneke and Kubrick are analyzed as articulations of a political unconscious.
Plunkett's Telecommunications Industry Almanac
A market research guide to the telecommunications industry. It offers a tool for strategic planning, competitive intelligence, employment searches or financial research. It includes a chapter of trends, statistical tables, and an industry-specific glossary. It provides profiles of the 500 biggest, companies in the telecommunications industry.
Conversations with Christian Metz
This volume offers readable summaries, elaborations, and explanations of his sometimes complex and demanding theories of film.
Plunkett's Almanac of Middle Market Companies 2009
A business development tool for professionals, marketers, sales directors, consultants and strategists seeking to understand and reach middle market American companies. It covers important business sectors, from InfoTech to health care to telecommunications. Profiles of more than 500 leading US middle market companies. Includes business glossary, a listing of business contacts, indexes and database on CD-ROM.
Plunkett's Companion to the Almanac of American Employers 2008
Covers employers of various types from 100 to 2,500 employees in size (while the main volume covers companies of 2,500 or more employees). This book contains profiles of companies that are of vital importance to job-seekers of various types. It also enables readers to compare the growth potential and benefit plans of large employers.
At the Edges of Sleep
A free open access ebook is available upon publication. Learn more at www.luminosoa.org. Many recent works of contemporary art, performance, and film turn a spotlight on sleep, wresting it from the hidden, private spaces to which it is commonly relegated. At the Edges of Sleep considers sleep in film and moving image art as both a subject matter to explore onscreen and a state to induce in the audience. Far from negating action or meaning, sleep extends into new territories as it designates ways of existing in the world, in relation to people, places, and the past. Defined positively, sleep also expands our understanding of reception beyond the binary of concentration and distraction. These ...
Cinema against spectacle
Jean-Louis Comollis six-part essay Technique and Ideology had a revolutionary effect on film theory and history when it first appeared in Cahiers du Cinéma in 1971. In 2009, Comolli revisited his earlier text, arguing that the present age, marked by the total dominance of media-filtered spectacle over image production, makes the need for an emancipated, critical spectator more pressing than ever. This volume brings together annotated translations of these two texts to provide an overview of Comollis activity as both a theorist and a filmmaker.
