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The Material Image
Focusing on intermediality, The Material Image situates film within questions of representation familiar from the other arts: What is meant by figuring the real? How is the real suggested by visual metaphors, and what is its relation to illusion? How is the spectator figured as entering the text, and how does the image enter our world? The film's spectator is integral to these concerns. Cognitive and phenomenological approaches to perception alike claim that spectatorial affect is "real" even when it is film that produces it. Central to the staging of intermediality in film, tableaux moments in film also figure prominently in the book. Films by Scorsese, Greenaway, Wenders, and Kubrick are seen to address painterly, photographic, and digital images in relation to effects of the real. Hitchcock's films are examined with regard to modernist and realist effects in painting. Chapters on Fassbinder and Haneke analyze the significance of tableau for the body in pain, while a final chapter on horror film explores the literalism of psychopathic tableau. Here, too, art and the bodyimages and the realare juxtaposed and entwined in a set of relations.
Where Does it Happen?
“A good movie,” John Cassavetes has remarked, “will ask you questions you don’t already know the answers to.” And in his films, Cassavetes is as good as his word. Taking up the radical question that Cassavetes’s films consistently pose—specifically, where is the line between actor and character, fiction and reality, film and life?—George Kouvaros reveals the unique and illuminating position that Cassavetes’s work occupies at the intersection of filmmaking and film theory.Central to any understanding of Cassavetes’s achievement is the issue of performance. Looking at the work of Gena Rowlands, Ben Gazzara, and Cassavetes himself in films such as Faces, A Woman under the In...
Death Rides the Zephyr
December 23, 1952. A transcontinental train is stopped cold by a rockslide in a remote Colorado canyon. There’s a murderer aboard, one who has already killed, and will kill again unless stopped. The California Zephyr, with its run from Oakland to Chicago and back, was famous for its Vista-Domes, which provided a 360-degree view of spectacular Western scenery. It was a kind of small city populated by passengers from all walks of life and a large crew whose duty it was to keep them safe. Zephyrette Jill McLeod is the passengers’ primary point of contact. She’s armed for any emergency—with a first-aid kit, a screwdriver, and her knowledge of human nature. But can she figure out a ruthless killer's clever plot in time?
The Pond Lovers
To his legions of readers, Gene Logsdon is best known as the Contrary Farmer. This is Logsdon's ode to the watery microcosms all around, from the half-acre farm pond to the suburban garden pool. Readers looking for hands-on experience will find plenty of pond-keeping do's and don'ts.
A Familys' Journey to Help Their Autistic Daughter
DescriptionThe Girl With Kaleidoscope Eyes is the story of a family's journey through the world of Autism. Beginning with the early scary days of diagnosis, statementing and finding the correct educational setting to the first teenage years, premenstrual mood swings and teenage tantrums.Sophie has Autism in it's purest form, she has no verbal speech, has behavioural problems and Sensory Processing Disorder. This story takes you from the days of Sophie being a mute, severely introverted toddler who would spend hours rocking back and forth, banging her fists on her head to now when she is a teenager who still loves her Disney films, can't leave the house without her 'bling' and sulks when she ...
The Cinema of Wim Wenders
The Cinema of Wim Wenders, the first anthology of scholarly work on Wenders, is a unique anthropology of source materials and selected critical essays on the films of Wim Wenders, a major filmmaker in the so-called New German Cinema movement. His work, probably more than that of any other European director, reflects the tension between the European auteur tradition and the increasing dominance of the American media industry. In both his filmmaking and his critical writing, he explores how the relationship between image and narrative manifests the basic opposition between these two film traditions. This book serves as an introduction to the central concerns of his cinema while situation his work within German film history and the contemporary debates about postmodern film and media theory.
Alexander Kluge: Cinema Impure: An Eclectic Modernist Style
Through his films and theoretical writings, and as a television producer, teacher, political lobbyist, lawyer, and public spokesman, Alexander Kluge has played a substantial role in creating the New German Cinema, as well as in German cultural politics. Since 1961 Kluge has produced almost thirty films and hundreds of television programs, written four volumes of fiction, coauthored three major works of sociocultural theory, and won almost every major literary and film prize in Germany. Peter Lutze provides in-depth analysis of Kluge's films and television work but also devotes attention to his political work. In raising issues that have become key questions in contemporary debates about modernism and postmodernism, Kluge's films and pronouncements demonstrate his modernist sensibility and an appropriation of modernist formal strategies for the purpose of the social critique.
