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This book provides a groundbreaking exploration of silent film performance. It combines close reading of silent screen acting with theoretically informed analysis, stressing the overlap between different performative arts, such as film and stage acting, dance, mime, and pantomime. The boundary between silent and sound films is also challenged. Anna Pavlova’s acting in The Dumb Girl of Portici is read through Freud’s work on the uncanny, disability studies, and notions of intermediality. Vladimir Mayakovsky’s performance in The Young Lady and the Hooligan is approached as a silent soliloquy and a representation of loneliness. Ivan Mozzhukhin’s tour de force in The Late Mathias Pascal is discussed through a queer failure lens, while Pola Negri’s presence in Hotel Imperial is analysed with the aid of texts on wartime anxiety. Harald Kreutzberg’s stunning number in Paracelsus is examined in the light of theories of mime and pantomime, arguing for its subversive potential in a Third Reich sound film.
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Reprint of the original, first published in 1860.
This work embraces as complete a collection of early New York marriage licenses as could be put together from official sources. With its various supplements, it comprises records of about one-fourth of all marriages that took place in New York prior to 1784, when the practice of issuing marriage licenses fell into disuse. In brief, it contains approximately 25,000 entries arranged alphabetically under the names of both brides and grooms, each giving the date of the license and a reference to the precise location of the original record.
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Ninet...
1. This book is a fascinating look at how early cinema and moving images inspired and were inspired by other more static forms of visual culture, such as painting, photography, and tableaux vivants. The contributors to this volume demonstrate how cinema responded to and was positioned within broader artistic and cultural frameworks. 2. This book is another strong contribution to the Proceedings of Domitor series, of which we are now the sole publishers. 3. It will benefit from our well established reputation in early cinema studies.
These records are among the oldest surviving church records for Staten Island (Richmond), New York. They pertain to three separate churches: the Dutch Reformed Church of Port Richmond; the United Brethren, or Moravian, Congregation of Staten Island; and St. Andrews Protestant Episcopal Church. The Dutch Reformed records consist solely of baptisms from 1696 to 1772. The Moravian records comprise the largest collection in the volume. They consist of baptism records from 1749 to 1853, marriages from 1764 to 1863, and death and burial records from 1758 to 1828. The records of the Episcopal congregation of St. Andrews, features birth and baptismal entries from 1752 to 1795 and several hundred marriages from 1754 to 1808.