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The Hospital by the River
When gynecologists Catherine and Reg Hamlin left their home in Australia for Ethiopia, they never dreamed that they would establish what has been heralded as one of the most incredible medical programs in the modern world. But more than forty years later, the couple has operated on more than 20,000 women, most of whom suffered from obstetric fistula, a debilitating childbirth injury. In this awe-inspiring book, Dr. Catherine Hamlin recalls her life and career in Ethiopia. Her unyielding courage and solid faith will astound Christians worldwide as she talks about the people she has grown to love and the hospital that so many Ethiopian women have come to depend on. She truly is the Mother Teresa of our age. The second edition includes an afterword that brings Catherine's story up to date and new color photographs.
Phantom Images
Ghosts have made an unexpected reappearance in German literature since 1989. Catherine Smale reads this as symptomatic of writers' attempts to renegotiate their personal and collective identity in the wake of German reunification. Focusing on two major authors from the former GDR, Christa Wolf and Irina Liebmann, Smale examines the ways in which their work adopts notions of haunting in its creative engagement with the double legacy of Socialism and National Socialism. The ghost has long been regarded as a vehicle for making manifest taboo or unauthorized memories. However, Smale goes further, demonstrating how the human subject is destabilized by the return of the phantom and is itself rendered insecure and spectral. Drawing on a wide range of theoretical reference, from the psychoanalytic concept of intergenerational phantoms to Derridean hauntology, Smale's study highlights the particular challenge which Wolf and Liebmann pose to the familiar understanding of how German writers have confronted their country's troublesome past.Catherine Smale is Lecturer in German at King's College London.
Compassionate Capitalism
It may seem like a recent trend, but the businesses have been practising “Compassionate Capitalism” for nearly a thousand years. Based on the recently discovered historical documents on Cambridge’s sophisticated urban property market during the Commercial Revolution in the thirteenth century, this book explores how successful entrepreneurs employed the wealth they had accumulated to the benefit of the community. Cutting across disciplines, from economic and business history to entrepreneurship, philanthropy and medieval studies, this outstanding study presents an invaluable contribution to our knowledge of the early phases of capitalism. The Cambridge Hundred Rolls Sources Volume, a companion replacing the previous incomplete and inaccurate transcription by the Record Commission of 1818, is also now available from Bristol University Press.
French Film in Britain
In a market long dominated by Hollywood, French films are consistently the most widely distributed non-English language works. French cinema, however, appears to undergo a transformation as it reaches Britain, becoming something quite different to that experienced by audiences at home. Drawing on extensive archival research the authors examine in detail the discourses, debates and decisions which have determined the place accorded to French cinema in British film culture. In so doing they provide a fascinating account of this particular instance of transnational cinematic traffic while simultaneously shedding new light on British film history. From the early days of the Film Society, via the advent of the X certificate to the new possibilities of video and DVD, this book reveals the complex and detailed history of the distribution, exhibition, marketing and reception of French cinema in Britain.
Stanley Cavell and Film
“Film is made for philosophy,” asserted Stanley Cavell. In addition to his work on scepticism, morality, and the intentions and meanings of ordinary language, the American philosopher wrote fascinatingly about cinema, arguing that film can reveal new ground for thinking through old philosophical problems. In this book, Catherine Wheatley draws upon Cavell's explicitly film-inspired works, key philosophical concepts and autobiographical writings, examining his analyses of films from Hollywood's Golden Age, the French New Wave, contemporary action cinema, silent film heroes Chaplin and Keaton, directors Cocteau and Hitchcock, and performers Greta Garbo and Ginger Rogers. Revealing the ways in which Cavell's thinking was shaped by the movies, Wheatly poses the question: what was it about film that taught the philosopher how best to live in the world?
Beyond the Happening
Beyond the Happening uncovers the heterogeneous, uniquely interdisciplinary performance-based works that emerged in the aftermath of the early Happenings. By the mid-1960s Happenings were widely declared outmoded or even ‘dead’, but this book reveals how many practitioners continued to work with the form during the late 1960s and 1970s, developing it into a vehicle for studying interpersonal communication that simultaneously deployed and questioned contemporary sociology and psychology. Focussing on the artists Allan Kaprow, Marta Minujín, Carolee Schneemann and Lea Lublin, it charts how they revised and retooled the premises of the Happening within a wider network of dynamic international activity. The resulting performances directly intervened in the wider discourse of communication studies, as it manifested in the politics of countercultural dropout, soft power and cultural diplomacy, alternative pedagogies, sociological art and feminist consciousness-raising.
Michael Haneke's Cinema
Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke’s films, situated as they are between intellectual projects and popular entertainments. In this first English-language introduction to, and critical analysis of, his work, each of Haneke’s eight feature films are considered in detail. Particular attention is given to what the author terms Michael Haneke’s ‘ethical cinema’ and the unique impact of these films upon their audiences. Drawing on the moral philosophy of Immanuel Kant and Stanley Cavell, Catherine Wheatley, introduces a new way of marrying film and moral philosophy, which explicitly examines the ethics of the film viewing experience. Haneke’s films offer the viewer great freedom whilst simultaneously imposing a considerable burden of responsibility. How Haneke achieves this break with more conventional spectatorship models, and what its far-reaching implications are for film theory in general, constitute the principal subject of this book.
Museums and Higher Education Working Together
Over the last twenty years the educational role of the museum has come to be central to its mission. There are now far more educational opportunities, new spaces, new interfaces - both digital and physical, and a growing number of education and interpretation departments, educational curators and public engagement programmes. Despite these developments, however, higher education has remained a marginal collaborator compared to primary and secondary schools and to other forms of adult learning. This has meant that the possibilities for partnerships between universities, colleges, museums and galleries has remained relatively unexplored, especially in relation to their potential for generating...
London Art Worlds
The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and ’70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art. The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London’s art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibition...
Horror Films for Children
Children and horror are often thought to be an incompatible meeting of audience and genre, beset by concerns that children will be corrupted or harmed through exposure to horror media. Nowhere is this tension more clear than in horror films for adults, where the demonic child villain is one of the genre's most enduring tropes. However, horror for children is a unique category of contemporary Hollywood cinema in which children are addressed as an audience with specific needs, fears and desires, and where child characters are represented as sympathetic protagonists whose encounters with the horrific lead to cathartic, subversive and productive outcomes. Horror Films for Children examines the h...
