Broadway Avenue in downtown Los Angeles contains an extraordinary collection of twelve abandoned film palaces, all built between 1910 and 1931. In most cities worldwide such a concentration of original cinema houses would have been demolished long ago—but in a city whose identity is inseparable from the film industry, the buildings have survived mainly intact, some of their interiors dilapidated and gutted and others transformed and re-imagined as churches and nightclubs. Stephen Barber’s Abandoned Images takes us inside these remarkable structures in order to understand the birth and death of film as both a medium and a social event.
Due to the rise of digital filmmaking and straight-to-DVD and on-demand distribution, the film industry is presently undergoing a process of profound transformation in both how movies are made and how they are watched. Barber explores what this means for the cinematic experience: Are movies losing some essential element of their identity and purpose, and can the distinctive aura of film survive when the specialized venues required to display movies have been comprehensively overhauled or erased? Barber also forecasts the future of film, revealing how its distinctive and flexible nature will be vital to its survival.
Featuring many evocative images alongside insightful reflections on the role of film and its viewing in the global culture, Abandoned Images will be of interest to all those engaged in contemporary developments in film, visual media, and digital arts.
The photographs of torture at Abu Ghraib prison aroused worldwide condemnation—or did they? Opinion polls showed that most citizens of the United States were unmoved by the images. One reason for this relative lack of a public outcry may be the nature of the Abu Ghraib pictures themselves and what Stephen F. Eisenman terms “the Abu Ghraib effect.” By showing prisoners engaging in sexual acts, Eisenman asserts, the photos make the men look like enthusiastic participants in their own interrogation and torture. Further, these scenes repeat an ancient stereotype: the “pathos formula,” in which victims of war are shown welcoming their own punishment.
In this highly original analysis, Eisenman shows the pathos formula at work in the Abu Ghraib photos, and he describes its long history, exploring the motif’s appearance in imperial Greek and Roman Art, in the sculpture and painting of Michelangelo, and in Baroque paintings of saints and martyrs. The author also describes the equally long history of artistic protest against the formula by such diverse artists as William Hogarth, Francisco Goya, Pablo Picasso, Ben Shahn, and Leon Golub.
The Abu Ghraib Effect reveals how the pathos formula has dulled public responses to images of torture, and also urges a more effective use of political images in the fight against the so-called “war on terror.”
“Eisenman’s concepts and questions constitute a challenging discourse on politics and art.” —Art in America
“This brilliantly argued volume should be read by all art historians.”—Art Book
“The Abu Ghraib Effect . . . traverses revolutionary terrain in its unraveling of the function of artistic metaphor in the justification of imperialist power.” —Media–Culture Review
Alfred Jarry’s (1873–1907) creation of the monster-tyrant Ubu in his play Ubu Roi was a watershed in theater history and brought him instant notoriety following its Paris premiere in 1896. In this concise, critical biography, Jill Fell explores this and the many achievements that this multi-talented and influential writer and playwright crammed into his short life.
Drawing on numerous anecdotes and the early publications of the Collège de ’Pataphysique, Fell traces Jarry’s growth and influence, as he rapidly established his literary reputation as a prose writer, journalist, art critic, and playwright. Along the way, Fell explores his interaction with a wide cast of avant-garde characters, including Gauguin, Rachilde, Wilde, Beardsley, and Apollinaire. The quarrels that punctuated Jarry’s life—and the extravagance and the drinking that drained his meager wealth—form the background to this portrait of an obsessive writer, committed to his craft and undeterred by his worsening domestic circumstances.
Inthis entertaining biography, Jarry’s spirit and his inventions clearly emerge as an inspiration to the great figures of experimental twentieth-century theatre, art, and literature. Alfred Jarry will inform and delight readers who wish to learn more about this fascinating, unconventional figure.
Apes—to look at them is to see a mirror of ourselves. Our close genetic relatives fascinate and unnerve us with their similar behavior and social personality. Here, John Sorenson delves into our conflicted relationship to the great apes, which often reveals as much about us as humans as it does about the apes themselves.
From bonobos and chimpanzees to gibbons, gorillas, and orangutans, Ape examines the many ways these remarkable animals often serve as models for humans. Anthropologists use their behavior to help explain our fundamental human nature; scientists utilize them as subjects in biomedical research; and behavioral researchers experiment with ways apes emulate us. Sorenson explores the challenges to the complex division between apes and ourselves, describing language experiments, efforts to cross-foster apes by raising them as human children, and the ethical challenges posed by the Great Ape Project. As well, Ape investigates representations of apes in popular culture, particularly films and advertising in which apes are often portrayed as human caricatures, monsters, and clowns.
Containing nearly one hundred illustrations of apes in nature and culture, Ape will appeal to readers interested in animal-human relationships and anyone curious to know more about our closest animal cousins, many of whom teeter on the brink of extinction.
Though more than sixty years have passed since the signing of the proclamation of the State of Israel, the impact of that epochal event continues to shape the political policies and public opinion of not only the Middle East but much of the world. The consequent conflict between Arabs and Israelis for sovereignty over the land of Palestine has been one of the most bloody, intractable, and drawn-out of modern times. It continues today in cycles of aggressive violence followed by temporary, tenuous ceasefires that are marked and complicated by resolute opinions and fractious religious ideologies. In this timely volume, noted military historian Ian J. Bickerton cuts through the complex perspectives in order to explain this struggle in objective detail, describing its history from the dissolution of the Ottoman Empire following World War I to the present day.
In concise and clear prose, Bickerton argues that the present problem can be traced to the fact that each side is trapped by a conception of their past from which they seem unable to break free. This attachment and reaction to history has had a negative influence on the decision-making of Arabs and Israelis since 1948. Ultimately, Bickerton maintains that the use of armed force has not, and will not, resolve the issues that have divided Israelis and Arabs.
The Arab-Israeli Conflict is a plea for reasoned diplomacy in a situation that has been dominated by extreme violence. This book will appeal to a wide general audience seeking a balanced understanding of this enduring struggle that still dominates headlines.
From Chicago to Toronto to Shanghai, cities around the world have sprouted “iconic” buildings by celebrity architects like Frank Gehry and Daniel Libeskind that compete for attention both on the skyline and in the media. But in recent years, criticism of these extreme “gestural” structures, known for their often-exaggerated forms, has been growing. Miles Glendinning’s impassioned polemic, Architecture’s Evil Empire, looks at how today’s trademark architectural individualism stretches beyond the well-known works and ultimately extends to the entire built environment. Glendinning examines how the global empire of the current modernism emerged—particularly in relation to the excesses of global capitalism—and explains its key organizational and architectural features, placing its most influential theorists and designers in a broader context of history and artistic movements.
Arguing against the excesses of iconic architecture, Glendinning advocates a vision of modern renewal that seeks to remedy the shattered and alienated look he sees in contemporary architecture. Mingling scholarship with wry humor and a genuine concern for the state of architecture, Architecture’s Evil Empire will raise many heated debates and appeal to a wide range of readers, from architects to historians, interested in the built environment.
When the Iron Curtain fell in 1989, Eastern Europe saw a new era begin, and the widespread changes that followed extended into the world of art. Art and Democracy in Post-Communist Europe examines the art created in light of the profound political, social, economic, and cultural transformations that occurred in the former Eastern Bloc after the Cold War ended. Assessing the function of art in post-communist Europe, Piotr Piotrowski describes the changing nature of art as it went from being molded by the cultural imperatives of the communist state and a tool of political propaganda to autonomous work protesting against the ruling powers.
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