A SCHOLARLY BOOK REPOSITORY
This contribution to European historical literature--based on extensive research in Madrid--provides a clear and dispassionate account of successive ecclesiastical-secular conflicts and controversies, and deftly summarizes the diverse ideological and intellectual currents of the times.
Nowhere in Europe has the Roman Catholic Church exerted a more mystical hold on the life of a nation than it has in Spain. Yet this hold has not been unchanging or unchallenged. By the mid-eighteenth century the Church was no longer the only legitimate source of authority, the all-pervasive presence that it had been, most forcefully in the late fifteenth and sixteenth centuries. Still, its power remained formidable. The Spanish Church imposed standards of conduct over the entire range of society, from the aristocracy to the peasant masses, and it possessed the material resources necessary to maintain an elaborate ecclesiastical network that influenced every aspect of Spanish life.
The heart of the book deals with the reactions of the Church to the dramatic, sometimes violent, changes that occurred during the critical nineteenth-century period of national transition from royal absolutism to popular liberalism. The study examines the responses of the Church to the new social and political forces that could no longer be excluded or contained, among them an emergent secular--even anticlerical--culture and a developing capitalism.Callahan demonstrates that these changes engendered resentments and frustrations deep within the ecclesiastical order that persisted well into the twentieth century, notably with the Spanish Church's embrace of Franco.
Through readings of the opinions of the US Supreme Court and other legal texts, Sullivan shows how “the church” as a religious collective is granted special privilege in US law. In-depth analyses of Hosanna-Tabor v. EEOC and Burwell v. Hobby Lobby reveal that the law tends to honor the religious rights of the group—whether in the form of a church, as in Hosanna-Tabor, or in corporate form, as in Hobby Lobby—over the rights of the individual, offering corporate religious entities an autonomy denied to their respective members. In discussing the various communities that construct the “church-shaped space” in American law, Sullivan also delves into disputes over church property, the legal exploitation of the black church in the criminal justice system, and the recent case of Masterpiece Cakeshop v. Colorado Civil Rights Commission. Brimming with insight, Church State Corporation provocatively challenges our most basic beliefs about the ties between religion and law in ostensibly secular democracies.
Sardis was home to one of the earliest known Christian communities, appearing among the Seven Churches of Asia in the mid-first century AD. Between 1962 and 1973, the Archaeological Exploration of Sardis excavated two superimposed churches at the ancient site, one early Christian, one Byzantine. This richly illustrated volume documents the architecture and history of these buildings from the fourth to the sixteenth century.
The early Christian church, an aisled basilica with narthex and atrium, both decorated with floor mosaics, had a long and complicated history, starting in the fourth century and continuing into the ninth century. Built over its remains is a Byzantine church dating to the little-known Lascarid period, when Constantinople had fallen to the Fourth Crusade and western Asia Minor was home to an independent Christian empire. This building’s standing remains, scattered domes, and vaulting fragments support the reconstruction of an inscribed-cross church with six columns and five domes, enriched on the exterior by a variety of brick and terracotta decoration. Together, these buildings cast new light on a millennium of Christian worship at Sardis, from the first official recognition of Christianity until the end of the Byzantine era.
When Homer Hailey sparked controversy within Churches of Christ congregations over his stand on divorce and remarriage, he spoke to a movement already sundered. Historian David Edwin Harrell tells Hailey's story as a means of presenting the larger drama of faith and feuding within those churches.
A nondenominational movement of autonomous congregations, Churches of Christ have been among the fastest-growing religious bodies in the 20th century. Throughout the movement's history, church leaders debated issues ranging from missionary societies to the use of instrumental music in worship. Although some disagreements affected only the ties between congregations, others led to the creation of three distinct groups calling themselves Churches of Christ identified by their sociological and theological positions.
This book shows how the story of the Churches of Christ is reflected by Homer Hailey, a preacher, educator, and author whose life puts in perspective the personal journeys traveled by members in this century. Writing from the perspective of the non-institutional wing within the movement, Harrell avoids mainstream biases to describe the various dissenting views as fully and fairly as possible.
Combining institutional history and biography, Harrell's book is the first to bring the story of the Churches of Christ to century's end. It provides new insight into how this movement realigned itself and shows how one man's career reflected a century of spiritual growth and change for the church as a whole.
More than half a century after his death, Winston Churchill, the most significant British statesman of the twentieth century, continues to intrigue us. Peter Clark’s book, however, is not merely another Churchill biography. Churchill’s Britain takes us on a geographical journey through Churchill’s life, leading us in Churchill’s footsteps through locations in Britain and Ireland that are tied to key aspects of his biography. Some are familiar–Blenheim Palace, where he was born; Chartwell, his beloved house in the country; and the Cabinet War Rooms, where he planned the campaigns of World War II. But we also are taken to his schools, his parliamentary constituencies, locations of famous speeches, the place where he started to paint, the tobacco shop where he bought his cigars, and the graves of his family and close friends.
Clark brings us close to the statesman Churchill by visiting sites that were important to the story of his long life, from the site where his father proposed to his American mother on the Isle of Wight to his grave in a country churchyard in Oxfordshire. Designed as a gazetteer with helpful regional maps, Churchill’s Britain can be dipped into, consulted by the traveler on a Churchill tour of Britain, or read straight through—and no matter how it’s read, it will deliver fresh insights into this extraordinary man.
Winston Churchill's visit to Fulton, Missouri, on March 5, 1946, marked the first public recognition of the cold war that was to follow World War II. Churchill delivered his most famous speech, "The Sinews of Peace," which became best known by the phrase he used to describe the cold-war division of Europe, the "iron curtain."
In the United States and Britain, wartime alliances had fostered favorable feelings toward the Soviet Union. By 1946 democratic citizens on both sides of the Atlantic had begun to consider communist Russia a friend. In his speech at Fulton, Churchill exhibited breathtaking flexibility and a clear recognition of the main threat as he reminded the public that true friendship must be reserved for countries sharing a common love of liberty. The "Iron Curtain" speech defined postwar relations with the Soviet Union for citizens of Western democracies. Although it initially provoked intense controversy in the United States and Britain, criticism soon gave way to wide public agreement to oppose Soviet imperialism.
Opening with the full text of the address Churchill delivered in Fulton and concluding with Margaret Thatcher's fiftieth-anniversary address surveying the challenges facing Western democracies in this post-cold war climate, the book brings together essays that reflect on the past fifty years, recognizing Churchill's speech as a carefully conceived herald of the cold war for the Western democracies. These powerful essays offer a fresh appreciation of the speech's political, historical, diplomatic, and rhetorical significance.
But, as Finke and Stark show, not all denominations benefited. They explain how and why the early nineteenth-century churches began their descent, while two newcomer sects, the Baptists and the Methodists, gained ground. They also analyze why the Methodists then began a long, downward slide, why the Baptists continued to succeed, how the Catholic Church met the competition of ardent Protestant missionaries, and why the Catholic commitment has declined since Vatican II. The authors also explain why ecumenical movements always fail
In short, Americans are not abandoning religion; they have been moving away from established denominations. A "church-sect process" is always under way, Finke and Stark argue, as successful churches lose their organizational vigor and are replaced by less worldly groups.
Some observers assert that the rise in churching rates indicates increased participation, not increased belief. Finke and Stark challenge this as well. They find that those groups that have gained the greatest numbers have demanded that their followers accept traditional doctrines and otherworldliness. They argue that religious organizations can thrive only when they comfort souls and demand sacrifice. When theology becomes too logical, or too secular, it loses people.
Now that the welfare system has been largely dismantled, the fate of America's poor depends on what happens to them in the low-wage labor market. In this timely volume, Katherine S. Newman explores whether the poorest workers and families benefited from the tight labor markets and good economic times of the late 1990s. Following black and Latino workers in Harlem, who began their work lives flipping burgers, she finds more good news than we might have expected coming out of a high-poverty neighborhood. Many adult workers returned to school and obtained trade certificates, high school diplomas, and college degrees. Their persistence paid off in the form of better jobs, higher pay, and greater self-respect. Others found union jobs and, as a result, brought home bigger paychecks, health insurance, and a pension. More than 20 percent of those profiled in Chutes and Ladders are no longer poor.
A very different story emerges among those who floundered even in a good economy. Weighed down by family obligations or troubled partners and hindered by poor training and prejudice, these "low riders" moved in and out of the labor market, on and off public assistance, and continued to depend upon the kindness of family and friends.
Supplementing finely drawn ethnographic portraits, Newman examines the national picture to show that patterns around the country paralleled the findings from some of New York's most depressed neighborhoods. More than a story of the shifting fortunes of the labor market, Chutes and Ladders asks probing questions about the motivations of low-wage workers, the dreams they have for the future, and their understanding of the rules of the game.
Using documents obtained through the Freedom of Information Act, recently opened archival collections, and interviews with the actual participants, Immerman provides us with a definitive, powerfully written, and tension-packed account of the United States' clandestine operations in Guatemala and their consequences in Latin America today.
What’s your impression of the CIA? A bumbling agency that can’t protect its own spies? A rogue organization prone to covert operations and assassinations? Or a dedicated public service that advances the interests of the United States? Astute TV and movie viewers may have noticed that the CIA’s image in popular media has spanned this entire range, with a decided shift to more positive portrayals in recent years. But what very few people know is that the Central Intelligence Agency has been actively engaged in shaping the content of film and television, especially since it established an entertainment industry liaison program in the mid-1990s.
The CIA in Hollywood offers the first full-scale investigation of the relationship between the Agency and the film and television industries. Tricia Jenkins draws on numerous interviews with the CIA’s public affairs staff, operations officers, and historians, as well as with Hollywood technical consultants, producers, and screenwriters who have worked with the Agency, to uncover the nature of the CIA’s role in Hollywood. In particular, she delves into the Agency’s and its officers’ involvement in the production of The Agency, In the Company of Spies, Alias, The Recruit, The Sum of All Fears, Enemy of the State, Syriana, The Good Shepherd, and more. Her research reveals the significant influence that the CIA now wields in Hollywood and raises important and troubling questions about the ethics and legality of a government agency using popular media to manipulate its public image.
As Krostenko demonstrates, a key feature of this language is its capacity to express both approval and disdain—an artifact of its origins at a time when the "style" and "charm" of imported Greek cultural practices were greeted with both enthusiasm and hostility. Cicero played on that ambiguity, for example, by chastising lepidus ("fine") boys in the "Second Oration against Catiline" as degenerates, then arguing in his De Oratore that the successful speaker must have a certain charming lepos ("wit"). Catullus, in turn, exploited and inverted the political subtexts of this language for innovative poetic and erotic idioms.
Contains Cicero’s De Oratore and Brutus, influential sources over the centuries for ideas on rhetoric and training for public leadership.
The De Oratore, written in 55 B.C., argues that rhetoric is socially significant because states are established and maintained through the leadership of eloquent men.
The three books of dialogues in this volume feature discussions between well-known figures in Roman history, including Lucius Crassus, Marcus Antonius, Quintus Lutatius Catulus, Quintus Marcius Scaevola, Caius Aurelius Cotta, Julius Caesar Strabo Vopicus, and Publius Sulpicus Rufus.
The Brutus continues the theme of the dialogues, giving a history of eminent orators whose performances exemplify the Ciceronian theory that rhetoric finally adds up to leadership.
Margaret Graver's elegant and idiomatic translation makes Cicero's work accessible not just to classicists but to anyone interested in ancient philosophy and psychotherapy or in the philosophy of emotion. The accompanying commentary explains the philosophical concepts discussed in the text and supplies many helpful parallels from Greek sources.
The most important literary dispute of the Renaissance pitted those writers of Neo-Latin who favored imitation of Cicero alone, as the single best exemplar of Latin prose, against those who preferred to follow an eclectic array of literary models. This Ciceronian controversy is the subject of the texts collected for the first time in this volume: exchanges of letters between Angelo Poliziano and Paolo Cortesi; between Gianfrancesco Pico della Mirandola and Pietro Bembo; and between Giovambattista Giraldi Cinzio and his mentor Celio Calcagnini. A postscript by Lilio Gregorio Giraldi and writings by Antonio Possevino comment further on this correspondence.
Because they address some of the most fundamental aspects of literary production, these quarrels shed light on similar debates about vernacular literature, which also turned on imitation and the role of the author. The Ciceronian controversy can also be seen as part of larger cultural movements, such as the choice of vernacular language over Latin, the development of Jesuit pedagogy, and the religious conflicts that characterized much of the Renaissance.
Individual chapters examine the ways thinkers throughout history, specifically Augustine, John of Salisbury, Thomas More, Machiavelli, Montaigne, Hobbes, Locke, Adam Smith, and Edmund Burke, have engaged with and been influenced by Cicero. A final chapter surveys the impact of Cicero’s ideas on political thought in the second half of the twentieth century. By tracing the long reception of these ideas, the collection demonstrates not only Cicero’s importance to both medieval and modern political theorists but also the comprehensive breadth and applicability of his philosophy.
While Cicero’s Use of Judicial Theater will be of interest primarily to professional scholars and students studying the speeches of Cicero, its wider analyses, both of Roman cultural customs and the idiosyncratic practices of the courts, will prove relevant also to social historians, as well as historians of legal procedure.
Cien años de identidad: Introducción a la literatura latinoamericana del siglo XX [One Hundred Years of Identity: Introduction to Twentieth-Century Latin American Literature] is an advanced Spanish textbook and Latin American literature anthology, guiding students through the critical analysis of fourteen literary and filmic texts published between 1889 and 1995, including works from Jorge Luis Borges, Isabel Allende, and Gabriel García Márquez that represent some of the seminal works of Latin America. The textbook is designed to introduce students to the richness of twentieth-century Latin American literature and culture while building their skills in textual analysis through an examination of the theme of identity. The featured texts examine the complex and multifaceted topic of identity as the authors and protagonists struggle to understand themselves, determine their relationship to the world and others, and give meaning and significance to their existence. The textbook guides students step-by-step through critical analysis by presenting a range of tools and progressing from simple to more complex exercises and activities throughout the book. It is divided into four units based on various types of identity formation: (1) racial, ethnic, gender, and class identity; (2) existential(ist) identity; (3) temporal and spatial identity; (4) political and sexual identity. Serving as both a Latin American literature anthology and an upper-level Spanish textbook, Cien años de identidad aims to hone reading and interpretive strategies while also improving Spanish vocabulary and comprehension, oral and written communication, and cultural competency.
Features:
•Complete unabridged works from the following authors: Isabel Allende, Jorge Luis Borges, Rosario Castellanos, Julio Cortázar, Rubén Darío, Carlos Fuentes, Gabriel García Márquez, José Martí, Judith Ortiz Cofer, and Sergio Vodanovic•Complete pedagogy included for the novel El beso de la mujer araña by Manuel Puig and the film Fresa y chocolate by Tomás Gutiérrez Alea and Juan Carlos Tabío, although these two works are not anthologized in the textbook•Additional cultural contexts and author biographies for each text, as well as appropriate glosses and numbered lines for easy reference in class discussions•Four end-of-unit chapters focused on comparative literature strategies that are designed to coach students on how to compare authors and texts across common themes and further improve critical analysis strategies•Seventeen post-reading quizzes or homework assignments as well as a final examination, available to instructors only through the publisher's website
Los Angeles Times Book Prize Finalist
Winner of the Willie Lee Rose Prize
Winner of the PROSE Award in United States History
Hagley Prize in Business History Finalist
A Smithsonian Best History Book of the Year
“Vaping gets all the attention now, but Milov’s thorough study reminds us that smoking has always intersected with the government, for better or worse.”
—New York Times Book Review
From Jamestown to the Marlboro Man, tobacco has powered America’s economy and shaped some of its most enduring myths. The story of tobacco’s rise and fall may seem simple enough—a tale of science triumphing over corporate greed—but the truth is more complicated.
After the Great Depression, government officials and tobacco farmers worked hand in hand to ensure that regulation was used to promote tobacco rather than protect consumers. As evidence of the connection between cigarettes and cancer grew, scientists struggled to secure federal regulation in the name of public health. What turned the tide, Sarah Milov reveals, was a new kind of politics: a movement for nonsmokers’ rights. Activists took to the courts, the streets, city councils, and boardrooms to argue for smoke-free workplaces and allied with scientists to lobby elected officials. The Cigarette puts politics back at the heart of tobacco’s rise and fall, dramatizing the battles over corporate influence, individual choice, government regulation, and science.
“A nuanced and ultimately devastating indictment of government complicity with the worst excesses of American capitalism.”
—New Republic
“An impressive work of scholarship evincing years of spadework…A well-told story.”
—Wall Street Journal
“If you want to know what the smoke-filled rooms of midcentury America were really like, this is the book to read.”
—Los Angeles Review of Books
In this startling account of innovation and expansion, Enstad uncovers a corporate network rooted in Jim Crow segregation that stretched between the United States and China and beyond. Cigarettes, Inc. teems with a global cast—from Egyptian, American, and Chinese entrepreneurs to a multiracial set of farmers, merchants, factory workers, marketers, and even baseball players, jazz musicians, and sex workers. Through their stories, Cigarettes, Inc. accounts for the cigarette’s spectacular rise in popularity and in the process offers nothing less than a sweeping reinterpretation of corporate power itself.
Featuring a reference grammar and formal analysis of Cilungu, this volume will be a major contribution to our understanding of tonology, since several of the forty-four processes analyzed appear to be unique to the language. It also includes a discussion of morphology, both nominal and verbal.
In the summer of 1943, as World War II raged overseas, the United States also faced internal strife. Earlier that year, Detroit had erupted in a series of race riots that killed dozens and destroyed entire neighborhoods. Across the country, mayors and city councils sought to defuse racial tensions and promote nonviolent solutions to social and economic injustices. In Cincinnati, the result of those efforts was the Mayor’s Friendly Relations Committee, later renamed the Cincinnati Human Relations Commission (CHRC).
The Cincinnati Human Relations Commission: A History, 1943–2013, is a decade-by-decade chronicle of the agency: its accomplishments, challenges, and failures. The purpose of municipal human relations agencies like the CHRC was to give minority groups access to local government through internal advocacy, education, mediation, and persuasion—in clear contrast to the tactics of lawsuits, sit-ins, boycotts, and marches adopted by many external, nongovernmental organizations.
In compiling this history, Phillip J. Obermiller and Thomas E. Wagner have drawn on an extensive base of archival records, reports, speeches, and media sources. In addition, archival and contemporary interviews provide first-person insight into the events and personalities that shaped the agency and the history of civil rights in this midwestern city.
During the pre-Civil War period, Cincinnati was the fastest growing and, according to many contemporary observers, most interesting city in America. This classic study, completed in the early 1970s, focuses on the community in 1840 to explain its success but also to suggest some broader patterns in the city’s development and American urbanization.
Using local census records, city directories, tax lists, newspapers, and other contemporary sources, Walter Stix Glazer describes the demographic, social, economic, and political structure of the adult white male population in 1840 and then develops a unified model of its social and functional organizations. This analysis (based on computerized records of thousands of Cincinnatians) also documents some broader trends between 1820 and 1860: the volatility of Cincinnati’s labor force, the career patterns of its homeowners, and the leadership of a small group of successful citizens active in a broad range of voluntary associations.
This statistical analysis is complemented with sections of traditional historical narrative and biographical profiles that illustrate the general themes of the book. Glazer argues that Cincinnati’s success up to 1840 was due to a unified booster vision and a cohesive community elite that gradually broke down, as a result of ethnic and economic division, over the next twenty years. This story has broader implications in terms of the character of Jacksonian democracy and American urbanization.
Cinco Becknell is the story of a homeless man with no memory. Locked in the emptiness of his mind is a secret, a past, which will either keep him alive or get him killed.
As Cinco staggers through a dangerous journey of rediscovery, he is hunted by psychopaths who want to kill him, and he has no idea why; he is shadowed by a woman who may keep him alive—or not; and he is finally helped by another woman who can bring back to him the light he looks for—if he can stay alive. But he is running out of time, and people around him are dying, always violently.
Gradually, he begins to understand the true, brutal, nature of himself and of the darkness of his past. But it is a past, and a present, that he may never fully understand.
This novel, based on generations of violent, local family history, is set in the underbelly of the pseudo-glitzy streets of Santa Fe, New Mexico.
Covering a period of more than one hundred years of work by renowned folklorists, these enlightening essays explore the timeless tale of Cinderella. In addition to the most famous versions of the story (Basile’s Pentamerone, Perrault’s Cendrillon, and the Grimm’s Aschenputtel), this casebook includes articles on other versions of the tale from Russian, English, Chinese, Greek and French folklore. The volume concludes with several interpretive essays, including a psychoanalytic view from Dundes and a critique of the popularization of Cinderella in America.
“Folklorists, scholars of children’s literature, and feminists should appreciate particularly the wide scope of this collection . . . now in paperback with an updated Bibliographical Addendum. . . . Most helpful are the two-page introductions to each variant and to each essay which include a brief overview of the historical times as well as suggested additional sources for more discussion.”—Danny Rochman, Folklore Forum
“A milestone, a near complete source of primary and secondary materials. . . . The selected analytical writing include definitive classic and new discoveries, covering the whole range of methodological modes and theoretical perspectives from early forms and typology to myth-ritual, social-historical, anthropological, and psychoanalytical readings. The annotated bibliography is most helpful, illuminating, and comprehensive, encompassing publications in other Western languages and works by Asianists.”—Chieko Mulhern, Asian Folklore Studies
“One can imagine several dimensions on which psychoanalysts might find such a collection interesting: as examples of applied psychoanalysis, in relation to philosophical and cultural examination of imaginative material, in relation to child development, and in the correlations between folktales of a particular culture and individual histories.”—Kerry Kelly Novick, Psychoanalytic Quarterly
“More than fifteen years ago,” Jacques Derrida writes in the prologue to this remarkable and uniquely revealing book, “a phrase came to me, as though in spite of me. . . . It imposed itself upon me with the authority, so discreet and simple it was, of a judgment: ‘cinders there are’ (il y a là cendre). . . . I had to explain myself to it, respond to it—or for it.”
In Cinders Derrida ranges across his work from the previous twenty years and discerns a recurrent cluster of arguments and images, all involving in one way or another ashes and cinders. For Derrida, cinders or ashes—at once fragile and resilient—are “the better paradigm for what I call the trace—something that erases itself totally, radically, while presenting itself.”
In a style that is both highly condensed and elliptical, Cinders offers probing reflections on the relation of language to truth, writing, the voice, and the complex connections between the living and the dead. It also contains some of his most essential elaborations of his thinking on the feminine and on the legacy of the Holocaust (both a word—from the Greek hólos, “whole,” and kaustós, “burnt”—and a historical event that invokes ashes) in contemporary poetry and philosophy. In turning from the texts of other philosophers to his own, Cinders enables readers to follow the trajectory from Derrida’s early work on the trace, the gramma, and the voice to his later writings on life, death, time, and the spectral.
Among the most accessible of this renowned philosopher’s many writings, Cinders is an evocative and haunting work of poetic self-analysis that deepens our understanding of Derrida’s critical and philosophical vision.
With the encouragement of a teacher at Southern Center, Cindy realized she had a deep passion for sports, and the discipline to train and compete. She began participating in Special Olympics, and gained confidence as she worked with teammates to earn medals in tennis, track and field, and even snowshoeing. Chosen as a Global Messenger for the Special Olympics International in 2000, Cindy has had dinner at the White House with two different American presidents, traveled around the world, and given speeches in front of thousands of people.
In these pages, young readers will learn what gives Cindy her champion spirit, and why she gave away some of her gold medals. Today, Cindy is still competing in Special Olympics. She also continues to advocate for people with disabilities, and helped to start People First, a statewide organization that encourages those with disabilities to speak up for their rights.
The first book on this neglected piece of an esteemed artist’s oeuvre, Cindy Sherman’s “Office Killer” rescues the film from critical oblivion and situates it next to the artist’s other iconic works.
Digital technology and the Internet have revolutionized film criticism, programming, and preservation in deeply paradoxical ways. The Internet allows almost everyone to participate in critical discourse, but many print publications and salaried positions for professional film critics have been eliminated. Digital technologies have broadened access to filmmaking capabilities, as well as making thousands of older films available on DVD and electronically. At the same time, however, fewer older films can be viewed in their original celluloid format, and newer, digitally produced films that have no “material” prototype are threatened by ever-changing servers that render them obsolete and inaccessible.
Cineaste, one of the oldest and most influential publications focusing on film, has investigated these trends through a series of symposia with the top film critics, programmers, and preservationists in the United States and beyond. This volume compiles several of these symposia: “Film Criticism in America Today” (2000), “International Film Criticism Today” (2005), “Film Criticism in the Age of the Internet” (2008), “Film Criticism: The Next Generation” (2013), “The Art of Repertory Film Exhibition and Digital Age Challenges” (2010), and “Film Preservation in the Digital Age” (2011). It also includes interviews with the late, celebrated New Yorker film critic Pauline Kael and the critic John Bloom (“Joe Bob Briggs”), as well as interviews with the programmers/curators Peter von Bagh and Mark Cousins and with the film preservationist George Feltenstein. This authoritative collection of primary-source documents will be essential reading for scholars, students, and film enthusiasts.
Vogel's commitment to the broadest range of cinema practice led him to develop a programming strategy, inherited from the European cine-club movement, that involved confronting audiences with such a wide range of cinematic forms that viewers left the theater considering not only the often remarkable films Vogel showed, but the place of Cinema itself in modern life.
Cinema 16: Documents Toward a History of the Film Society is the first book on Cinema 16. Scott MacDonald provides a sense of the life and work of the society, using the complete Cinema 16 program announcements, selected letters between Vogel and the filmmakers whose films he showed; selections from the program notes that accompanied Cinema 16 screenings, theoretical essays by Vogel on curating independent cinema; conversations between MacDonald and Cinema 16 members; photographs and stills; and a variety of other documents.
Cinema 2: The Time-Image brings to completion Gilles Deleuze’s work on the theoretical implications of the cinematographic image. In Cinema 1: The Movement-Image, Deleuze proposed a new way to understand narrative cinema, based on Henri Bergson’s notion of the movement-image and C. S. Peirce’s classification of images and signs. In Cinema 2, he explains why, since World War II, time has come to dominate film: the fragment or solitary image, in supplanting narrative cinema’s rational development of events, illustrates this new significance of time.
Deleuze ascribes this shift to the condition of postwar Europe: the situations and spaces “we no longer know how to describe”—buildings deserted but inhabited, cities undergoing demolition or reconstruction—and the new race of characters who emerged from this rubble, mutants, who “saw rather than acted.” Deleuze discusses the films of Rossellini, De Sica, Fellini, Godard, Resnais, Antonioni, Pasolini, Rohmer, Ophuls, and many others, suggesting that contemporary cinema, far from being dead, is only beginning to find new ways to capture time in the image.
Lawrence of Arabia, The Miracle Worker, To Kill a Mockingbird, The Manchurian Candidate, Gypsy, Sweet Bird of Youth, The Longest Day, The Music Man, What Ever Happened to Baby Jane, and more.
Most conventional film histories dismiss the early 1960s as a pallid era, a downtime between the heights of the classic studio system and the rise of New Hollywood directors like Scorsese and Altman in the 1970s. It seemed to be a moment when the movie industry was floundering as the popularity of television caused a downturn in cinema attendance. Cinema ’62 challenges these assumptions by making the bold claim that 1962 was a peak year for film, with a high standard of quality that has not been equaled since.
Stephen Farber and Michael McClellan show how 1962 saw great late-period work by classic Hollywood directors like John Ford, Howard Hawks, and John Huston, as well as stars like Bette Davis, James Stewart, Katharine Hepburn, and Barbara Stanwyck. Yet it was also a seminal year for talented young directors like Sidney Lumet, Sam Peckinpah, and Stanley Kubrick, not to mention rising stars like Warren Beatty, Jane Fonda, Robert Redford, Peter O’Toole, and Omar Sharif. Above all, 1962—the year of To Kill a Mockingbird and The Manchurian Candidate—gave cinema attendees the kinds of adult, artistic, and uncompromising visions they would never see on television, including classics from Fellini, Bergman, and Kurosawa. Culminating in an analysis of the year’s Best Picture winner and top-grossing film, Lawrence of Arabia, and the factors that made that magnificent epic possible, Cinema ’62 makes a strong case that the movies peaked in the Kennedy era.
The notion of landscape is a complex one, but it has been central to the art and artistry of the cinema. After all, what is the French New Wave without Paris? What are the films of Sidney Lumet, Woody Allen, Martin Scorsese, and Spike Lee without New York? Cinema and Landscape frames contemporary film landscapes across the world, in an exploration of screen aesthetics and national ideology, film form and cultural geography, cinematic representation and the human environment. Written by well-known cinema scholars, this volume both extends the existing field of film studies and stakes claims to overlapping, contested territories in the humanities and social sciences.
The modern impulse gave us captivating technology and dark anxiety, rampant mobility and a world filled with strangers, the futuristic city and a fragmentation of experience. Motion pictures––the quintessence of modernism––entered into this cultural, technical, and philosophical richness with a vast public appeal and a jarring new vision of what life could be.
In Cinema and Modernity, Murray Pomerance brings together new essays by seventeen leading scholars to explore the complexity of the essential connection between film and modernity. Among the many films considered are Detour, Shock Corridor, The Last Laugh, Experiment in Terror, The Great Dictator, Leave Her to Heaven, The Talented Mr. Ripley, Eyes Wide Shut, Sunrise, The Crowd, The Shape of Things to Come, The War of the Worlds, The Day the Earth Stood Still, Scarlet Street, Shadow of a Doubt, Stella Dallas, The Blue Angel, Sullivan’s Travels, and Catch Me If You Can.
The visual image is the common denominator of cinema and painting, and indeed many filmmakers have used the imagery of paintings to shape or enrich the meaning of their films. In this discerning new approach to cinema studies, Angela Dalle Vacche discusses how the use of pictorial sources in film enables eight filmmakers to comment on the interplay between the arts, on the dialectic of word and image, on the relationship between artistic creativity and sexual difference, and on the tension between tradition and modernity.
Specifically, Dalle Vacche explores Jean-Luc Godard's iconophobia (Pierrot Le Fou) and Andrei Tarkovsky's iconophilia (Andrei Rubleov), Kenji Mizoguchi's split allegiances between East and West (Five Women around Utamaro), Michelangelo Antonioni's melodramatic sensibility (Red Desert), Eric Rohmer's project to convey interiority through images (The Marquise of O), F. W. Murnau's debt to Romantic landscape painting (Nosferatu), Vincente Minnelli's affinities with American Abstract Expressionism (An American in Paris), and Alain Cavalier's use of still life and the close-up to explore the realms of mysticism and femininity (Thérèse).
While addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.
Since the late 1960s, films from Latin America have won widening audiences in North America and Europe. Until now, no single book has offered an introduction to the diverse personalities and practices that make up this important regional film movement.
In Cinema and Social Change in Latin America, Julianne Burton presents twenty interviews with key figures of Latin American cinema, covering three decades and ranging from Argentina to Mexico. Interviews with pioneers Fernando Birri, Nelson Pereira dos Santos, and Glauber Rocha, renowned feature filmmakers Tomás Gutiérrez Alea and Carlos Diegues, prize-winning documentarists Patricio Guzmán and Helena Solberg-Ladd, among others, endeavor to balance personal achievement against the backdrop of historical, political, social, and economic circumstances that have influenced each director's career. Presented also are conversations that cast light on the related activities of acting, distribution, theory, criticism, and film-based community organizing.
More than their counterparts in other regions of the world, Latin American artists and intellectuals acknowledge the degree to which culture is shaped by history and politics. Since the mid-1950s, a period of rising nationalism and regional consciousness, talented young artists and activists have sought to redefine the uses of the film medium in the Latin American context. Questioning the studio and star systems of the Hollywood industrial model, these innovators have developed new forms, content, and processes of production, distribution, and reception.
The specific approaches and priorities of the New Latin American Cinema are far from monolithic. They vary from realism to expressionism, from observational documentary to elaborate fictional constructs, from "imperfect cinema" to a cinema that emulates the high production values of the developed sectors, from self-reflexive to "transparent" cinematic styles, from highly industrialized modes of production to purely artisanal ones. What does not vary is the commitment to film as a vehicle for social transformation and the expression of national and regional cultural autonomy.
From early alternative cinema efforts in Argentina, Brazil, and Cuba to a contemporary perspective from within the Mexican commercial industry to the emerging cinema and video production from Central America, Cinema and Social Change in Latin America offers the most comprehensive look at Latin American film available today.
Following the Sandinista Revolution in 1979, young bohemian artists rushed to the newly formed Nicaraguan national film institute INCINE to contribute to "the recovery of national identity" through the creation of a national film project. Over the next eleven years, the filmmakers of INCINE produced over seventy films—documentary, fiction, and hybrids—that collectively reveal a unique vision of the Revolution drawn not from official FSLN directives, but from the filmmakers' own cinematic interpretations of the Revolution as they were living it.
This book examines the INCINE film project and assesses its achievements in recovering a Nicaraguan national identity through the creation of a national cinema. Using a wealth of firsthand documentation—the films themselves, interviews with numerous INCINE personnel, and INCINE archival records—Jonathan Buchsbaum follows the evolution of INCINE's project and situates it within the larger historical project of militant, revolutionary filmmaking in Latin America. His research also raises crucial questions about the viability of national cinemas in the face of accelerating globalization and technological changes which reverberate far beyond Nicaragua's experiment in revolutionary filmmaking.
Featuring interviews with filmmaker Ken Burns, Oscar-nominated editor Jay Cassidy, producer John Sloss, and more, this masterpiece provides insights into how a Midwestern college town developed a robust underground art film community that inspired those across the country. Variety’s Owen Glieberman says, “Frank Uhle has captured the moment when cinema became, for a new generation, a kind of religion, with its own rituals and sacred texts and a spirit of exploratory mystery that has all but vanished from the culture.”
This is a must-have book for cinema and media aficionados, film archivists, and anyone interested in the cultural history of Ann Arbor.
This book was published in collaboration with Fifth Avenue Press at Ann Arbor District Library. Learn more about their publishing program here. You can also see their collection, including vintage flyers, photos, film schedules, here.
In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as “lifelike” but best understood as “approaching reality.” What these Chinese theorists mean, in Fan’s reading, is that the cinematographic image is not a form of total reality, but it can allow spectators to apprehend an effect as though they had been there at the time when an event actually happened.
Fan suggests that the phrase “approaching reality” can help to renegotiate an aporia (blind spot) that influential French film critic André Bazin wrestled with: the cinematographic image is a trace of reality, yet reality is absent in the cinematographic image, and the cinema makes present this absence as it reactivates the passage of time. Fan enriches Bazinian cinematic ontology with discussions on cinematic reality in Republican China and colonial Hong Kong, putting Western theorists—from Bazin and Kracauer to Baudrillard, Agamben, and Deleuze—into dialogue with their Chinese counterparts. The result is an eye-opening exploration of the potentialities in approaching cinema anew, especially in the photographic materiality following its digital turn.
In addition to close readings of British and Indian films of the late colonial era, Jaikumar draws on a wealth of historical and archival material, including parliamentary proceedings, state-sponsored investigations into colonial filmmaking, trade journals, and intra- and intergovernmental memos regarding cinema. Her wide-ranging interpretations of British film policies, British initiatives in colonial film markets, and genres such as the Indian mythological film and the British empire melodrama reveal how popular film styles and controversial film regulations in these politically linked territories reconfigured imperial relations. With its innovative examination of the colonial film archive, this richly illustrated book presents a new way to track historical change through cinema.
The original foreign film—its sights and sounds—is available to all, but the viewer is utterly dependent on a translator and an untold number of technicians who produce the graphic text or disconnected speech through which we must approach the foreign film. A bad translation can ruin a film’s beauty, muddy its plot, and turn any joke sour.
In this wide-ranging work, Abé Mark Nornes examines the relationships between moving-image media and translation and contends that film was a globalized medium from its beginning and that its transnational traffic has been greatly influenced by interpreters. He discusses the translation of film theory, interpretation at festivals and for coproductions, silent era practice, “ talkies,” subtitling, and dubbing.
Nornes—who has written subtitles for Japanese cinema—looks at the ways misprision of theory translations produced stylistic change, how silent era lecturers contributed to the construction of national cinemas, how subtitlers can learn from anime fans, and how ultimately interpreters can be, in his terms, “traders or traitors.”
Abé Mark Nornes is associate professor of Asian languages and cultures and film and video studies at the University of Michigan. He is the author of Japanese Documentary Film (Minnesota, 2003) and Forest of Pressure (Minnesota, 2007).
Cinema Beyond Film elaborates on the theoretical uses of two key terms—dispositif and episteme—in order to examine their relationship as well as their larger connections to film, technology, and modernity. Although both terms originate in the work of Foucault, dispositif (“device”) intrinsically links itself to the mechanics of movement and speed behind cinematics, while more generally referring to the mechanisms and structures that hold power in place. Episteme(“to know”), on the other hand, refers to the conditions and possibilities of knowledge and reception, more than to technological innovation. Each term is explored here in relation to the other, allowing this edited collection to assess the wide array of potential materialities that arise from the mechanics behind cinema and the changing face of its technology.
In this first major study of French colonial and postcolonial cinema, Dina Sherzer compiles essays by some of the foremost scholars on the subject who interrogate and analyze the realities behind the images of the nation's past and present. Through an examination of France and its colonies, multiethnic contemporary France, and cinematic discourses which have been and are being produced about France's colonial past, these authors explore how the images relay underlying assumptions and their relation to historical and political facts. A variety of subjects and viewpoints inform these studies, which cover the entire range of films on that topic.
The authors expound upon the role French and Francophone films are currently playing in reconstructing and imagining France's colonial past. Not only do the essays examine how French cinema has represented the encounter of French citizens with individuals from former colonies during the colonial era; they examine how French cinema has portrayed and has come to terms with the immigration of former colonial subjects to France. In addition, the book features another postcolonial facet by analyzing films of directors from the former colonies who give their own representation of colonialism and presentation of their culture.
This study is a major contribution to postcolonial research. Race, gender, and geography are central themes throughout this book that presents innovative material that contributes to the history of French cinema and emphasizes how cinema participates in and is a part of national culture.
Paul Young looks at the American cinema’s imaginative constructions of three electronic media—radio, television, and the Internet—at the times when these media seemed to hold limitless possibilities. In doing so, he demonstrates that Hollywood is indelibly marked by the advent of each new medium, from the inclusion of sound in motion pictures to the use of digital graphics. But conversely, Young argues, the identities of the new media are themselves changed as Hollywood turns them to its own purposes and its own dreams.
Paul Young is professor of English and director of the film studies program at Vanderbilt University.
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