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Doing Anthropology in Wartime and War Zones
World War I marks a well-known turning point in anthropology, and this volume is the first to examine the variety of forms it took in Europe. Distinct national traditions emerged and institutes were founded, partly due to collaborations with the military. Researchers in the cultural sciences used war zones to gain access to »informants«: prisoner-of-war and refugee camps, occupied territories, even the front lines. Anthropologists tailored their inquiries to aid the war effort, contributed to interpretations of the war as a »struggle« between »races«, and assessed the »warlike« nature of the Balkan region, whose crises were key to the outbreak of the Great War.
The Requiem of Tomás Luis de Victoria (1603)
The first substantial study of Victoria's Requiem, among the most prominent Renaissance musical works, encompassing its genesis, style, and impact.
German Colonialism, Visual Culture, and Modern Memory
There is no overarching master narrative in understanding the history of German colonialism, and over the past decade, the study of Germany’s colonial past has experienced a dramatic transformation in its scope of inquiry. Influenced by new theoretical and methodological approaches to the study of race, nationalism, and globalization, these new studies initiate a process of reevaluating and redefining the parameters within which German Colonialism is understood. The role of visual materials, in particular, is ideal for exploring the porousness of disciplinary boundaries, though visual culture studies pertaining to German history – and especially German colonialism – have previously bee...
The Oxford Handbook of the Operatic Canon
Opera has always been controversial, not only because of how vastly expensive it is to produce. It has historically been a vital and complex mixture of high art and commerce, socially elite and popular or middle-class, the new and the increasingly old. When a city wants a new landmark building, an opera house is very often the solution: why should this still be the case? The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by looking at how it evolved from a market entirely driven by novelty to one of the most arthritically canonic art forms still in existence. This new collection addresses questions that are key to opera's pa...
Colonial Cinema in Africa
In recent decades historians and film scholars have intensified their study of colonial cinema in Africa. Yet the vastness of the continent, the number of European powers involved and irregular record keeping has made uncovering the connections between imagery, imperialism and indigenous peoples difficult. This volume takes up the challenge, tracing production and exhibition patterns to show how motion pictures were introduced on the continent during the "Scramble for Africa" and the subsequent era of consolidation. The author describes how early actualities, expeditionary footage, ethnographic documentaries and missionary films were made in the African interior and examines the rise of mass black spectatorship. While Africans in the first two decades of the 20th century were sidelined as cinema consumers because of colonial restrictions, social and political changes in the subsequent interwar period--wrought by large-scale mining in southern Africa--led to a rethinking of colonial film policy by missionaries, mining concerns and colonial officials. By World War II, cinema had come to black Africa.
Beyond the Screen
This scholarly anthology presents a new framework for understanding early cinema through its usage outside the realm of entertainment. From its earliest origins until the beginning of the twentieth century, cinema provided widespread access to remote parts of the globe and immediate reports on important events. Reaching beyond the nickelodeon theatres, cinema became part of numerous institutions, from churches and schools to department stores and charitable organizations. Then, in 1915, the Supreme Court declared moviemaking a “busines, pure and simple,” entrenching the film industry’s role as a producer of “harmless entertainment.” In Beyond the Screen, contributors shed light on how pre-1915 cinema defined itself through institutional interconnections and publics interested in science, education, religious uplift, labor organizing, and more.
Fixing the Liturgy
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Between Creativity and Norm-Making
The time of the transition from the Middle Ages to the onset of early modernity (c. 1400-1550) is a very complex one. It brought what on first sight appear to be contradictory developments. Human creativity and freedom became much more important; yet, at the same time, the foundations were laid for systems that allowed control to be exercised over virtually every aspect of human social life. How can we put these two phenomena together? Which tendency is the stronger one? The contributions in this volume focus on the tension between creativity and norm-making from the perspective of different academic disciplines, so as to shed light on this fascinating period in our history.
The Cinema of Attractions Reloaded
Twenty years ago, noted film scholars Tom Gunning and André Gaudreault introduced the phrase “cinema of attractions” to describe the essential qualities of films made in the medium’s earliest days, those produced between 1895 and 1906. Now, The Cinema of Attractions Reloaded critically examines the term and its subsequent wide-ranging use in film studies. The collection opens with a history of the term, tracing the collaboration between Gaudreault and Gunning, the genesis of the term in their attempts to explain the spectacular effects of motion that lay at the heart of early cinema, and the pair’s debts to Sergei Eisenstein and others. This reconstruction is followed by a look at applications of the term to more recent film productions, from the works of the Wachowski brothers to virtual reality and video games. With essays by an impressive collection of international film scholars—and featuring contributions by Gunning and Gaudreault as well—The Cinema of Attractions Reloaded will be necessary reading for all scholars of early film and its continuing influence.
