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Unearthing Churchill's Secret Army
The Special Operations Executive was one of the most secretive organizations of the Second World War, its activities cloaked in mystery and intrigue. The fate, therefore, of many of its agents was not revealed to the general public other than the bare details carved with pride upon the headstones and memorials of those courageous individuals.Then in 2003, the first batch of SOE personal files was released by the National Archive. Over the course of the following years more and more files were made available. Now, at last, it is possible to tell the stories of all those agents that died in action.These are stories of bravery and betrayal, incompetence and misfortune, of brutal torture and ult...
LeDoux
Louis LeDoux (ca. 1639-1708) emigrated from France and settled on land near Montreal, Québec, and married Marie Valiquet. His grandson, Pierre LeDoux (ca. 1714-1768), immigrated to Pointe Coupée, Louisiana and married Cecile Rondot. Descendants and relatives lived in Louisiana, Texas, Illinois, Wisconsin and elsewhere.
Catalysis
There is an increasing challenge for chemical industry and research institutions to find cost-efficient and environmentally sound methods of converting natural resources into fuels chemicals and energy. Catalysts are essential to these processes and the Catalysis Specialist Periodical Report series serves to highlight major developments in this area. This series provides systematic and detailed reviews of topics of interest to scientists and engineers in the catalysis field. The coverage includes all major areas of heterogeneous and homogeneous catalysis and also specific applications of catalysis such as NOx control kinetics and experimental techniques such as microcalorimetry. Each chapter...
A Light Affliction: a History of Film Preservation and Restoration
A history of film preservation and restoration, telling the story from the earliest days of the cinema to the modern days of digital restorations. The cinema was invented in the Victorian era, but for the first four decades of its existence almost no effort was made to preserve the millions of feet of celluloid which rolled through the cameras and projectors of the world. As a result, thousands of movies were lost forever. In the 1930s, the first concerted attempts at film preservation were begun by pioneering individuals such as Iris Barry at New York's Museum of Modern Art; Ernest Lindgren at the British Film Institute, and the indomitable Henri Langlois at the Cinémathèque française, a man who performed heroics in occupied France to save the world's cinematic heritage from destruction by the Nazis. The 1980s video boom encouraged the studios finally to instigate asset protection programmes and in the digital age new methods of producing, exhibiting and restoring motion pictures emerged.
Ecocinema Theory and Practice
This is an anthology that offers a comprehensive introduction to the rapidly growing field of eco-film criticism, a branch of critical scholarship that investigates cinema's intersections with environmental understandings.
Transatlantic Cinephilia
In the two decades after World War II, a vibrant cultural infrastructure of cineclubs, archives, festivals, and film schools took shape in Latin America through the labor of film enthusiasts who often worked in concert with French and France-based organizations. In promoting the emerging concept and practice of art cinema, these film-related institutions advanced geopolitical and class interests simultaneously in a polarized Cold War climate. Seeking to sharpen viewers' critical faculties as a safeguard against ideological extremes, institutions of film culture lent prestige to Latin America's growing middle classes and capitalized on official and unofficial efforts to boost the circulation of French cinema, enhancing the nation's soft power in the wake of military defeat and occupation. As the first book-length, transnational analysis of postwar Latin American film culture, Transatlantic Cinephilia deepens our understanding of how institutional networks have nurtured alternative and nontheatrical cinemas.
Visualizing Film History
Though many archival digital objects were not "born digital," film archives are now becoming important resources for digital scholarship as a consequence of digitization. Moreover, with advancements in digital research methods involving video annotation, visual analysis, and GIS affecting the way we look at archival films' material, stylistic histories and circulation, new research practices are more important than ever. Visualizing Film History is an accessible introduction to archive-based digital scholarship in film and media studies and beyond. With a combined focus on the history of film historiography, archiving, and recent digital scholarship—covering a period from the "first wave" ...
Film, Art, New Media: Museum Without Walls?
In the footsteps of Andre Bazin, this anthology of 15 original essays argues that the photographic origin of twentieth-century cinema is anti-anthropocentric. Well aware that the twentieth century stands out as the only period in history with its own photographic film record for posterity, Angela Dalle Vacche has convened international scholars at The Sterling and Francine Clark Art Institute, and asked them to rethink the history and theory of the cinema as a new model for the museum of the future. By exploring the art historical tropes of face and landscape, and key areas of film studies such as early cinema, Soviet film theory, documentary, the avant-garde and the newly-born genre of the ...
Arnheim for Film and Media Studies
Rudolf Arnheim (1904-2007) was a pioneering figure in film studies, best known for his landmark book on silent cinema Film as Art. He ultimately became more famous as a scholar in the fields of art and art history, largely abandoning his theoretical work on cinema. However, his later aesthetic theories on form, perception and emotion should play an important role in contemporary film and media studies. In this enlightening new volume in the AFI Film Readers series, an international group of leading scholars revisits Arnheim’s legacy for film and media studies. In fourteen essays, the contributors bring Arnheim’s later work on the visual arts to bear on film and media, while also reassess...
