- Table View
- List View
Virtuosity
by Jessica MartinezAn intensely romantic, “brilliant debut” (Kirkus Reviews) about a dangerous addiction, a fierce rivalry, and a forbidden love.Now is not the time for Carmen to fall in love. And Jeremy is hands-down the wrong guy for her to fall for. He is infuriating, arrogant, and the only person who can stand in the way of Carmen getting the one thing she wants most: to win the prestigious Guarneri competition. Carmen’s whole life is violin, and until she met Jeremy, her whole focus was winning. But what if Jeremy isn’t just hot…what if Jeremy is better?Carmen knows that kissing Jeremy can’t end well, but she just can't stay away. Nobody else understands her—and riles her up—like he does. Still, she can’t trust him with her biggest secret: She is so desperate to win, she takes antianxiety drugs to perform, and what started as an easy fix has become a hungry addiction. Carmen is sick of not feeling anything on stage and even sicker of always doing what she’s told, doing what’s expected.Sometimes being on top just means you have a long way to fall….
Visible and Invisible Whiteness: American White Supremacy through the Cinematic Lens
by Alice Mikal CravenVisible and Invisible Whiteness examines the complicity between Classical Hollywood narratives or genres and representations of white supremacy in the cinema. Close readings of D.W. Griffith’s The Birth of a Nation by James Agee and James Baldwin explore these authors’ perspectives on the American mythologies which ground Griffith’s film. The intersectionality of Bordwell’s theories on Classical Hollywood Narrative versus Art Cinema and Richard Dyer’s seminal work on whiteness forms the theoretical base for the book. Featured films are those which have been undervalued or banned due to their hybrid natures with respect to Hollywood and Art Cinema techniques, such as Samuel Fuller’s White Dog and Jean Renoir’s The Southerner. The book offers comparative analyses of American studio-based directors as well as European and European émigrés directors. It appeals to scholars of Film Theory, African American and Whiteness Studies. It provides insight for readers concerned about the re-emergence of white supremacist tensions in contemporary America.
Vision 2020: Reordering Chaos For Global Survival
by Ervin LaszloThis revised edition of the classic text of the period provides both the student and the specialist with an informative account of post-Roman English society.
Vision, Technology, and Subjectivity in Mexican Cyberpunk Literature (Studies in Global Science Fiction)
by Stephen C. TobinVision, Technology and Subjectivity in Mexican Cyberpunk Literature interrogates an array of cyberpunk and post-cyberpunk science fiction novels and short stories from Mexico whose themes engage directly with visual technologies and the subjectivities they help produce – all published during and influenced by the country’s neoliberal era. This book argues that television, computers, and smartphones and the literary narratives that treat them all correspond to separate-yet-overlapping scopic regimes within the country today. Amidst the shifts occurring in the country’s field of vision during this period, the authors of these cyberpunk and post-cyberpunk narratives imagine how these devices contribute to producing specular subjects—or subjects who are constituted in large measure by their use and interaction with visual technologies. In doing so, they repeatedly recur to the posthuman figure of the cyborg in order to articulate these changes; Stephen C. Tobin therefore contends that the literary cyborg becomes a discursive site for working through the problematics of sight in Mexico during the globalized era. In all, these “specular fictions” represent an exceptional tendency within literary expression—especially within the cyberpunk genre—that grapples with themes and issues regarding the nature of vision being increasingly mediated by technology.
Visionary Film: The American Avant-Garde, 1943-2000
by P. Adams SitneyCritics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained the standard text on American avant-garde film since the publication of its first edition in 1974. <p><p>Now P. Adams Sitney has once again revised and updated this classic work, restoring a chapter on the films of Gregory J. Markopoulos and bringing his discussion of the principal genres and major filmmakers up to the year 2000.
Visions from the Upside Down: Stranger Things Artbook (Stranger Things)
by NetflixOver 200 artists present their own unique visions of Stranger Things in a stunning celebration of the runaway hit Netflix series. In honor of Stranger Things, the innovative pop culture enthusiasts at Printed In Bloodare proud to present the latest release in their ongoing series of artbooks. More than two hundred artists, drawn from the earthly dimensions of comics, illustration, fine art, videogames, and animation, have come together to bring us a unique vision of the world of Hawkins, Indiana. Come dig into this collection of more than two hundred brand-new images and see what new worlds you might discover lurking just beneath the surface. Includes art by: ORLANDO AROCENA • MATT BUSCH • BUTCHER BILLY • RIAN HUGHES • JOHN McCREA • MATT NEEDLE • GARY PULLIN • BILL SIENKIEWICZ • EILEEN STEINBACH & MORE!This ebook is best viewed on a color device with a larger screen.
Visions of Avant-Garde Film: Polish Cinematic Experiments from Expressionism to Constructivism
by Kamila KucWarsaw- and London-based filmmakers Franciszka and Stefan Themerson are often recognized internationally as pioneers of the 1930s Polish avant-garde. Yet, from the turn of the century to the end of the 1920s, Poland’s literary and art scenes were also producing a rich array of criticism and early experiments with the moving image that set the stage for later developments in the avant-garde. In this comprehensive and accessible study, Kamila Kuc draws on myriad undiscovered archival sources to tell the history of early Polish avant-garde movements—Symbolism, Expressionism, Futurism, and Constructivism—and to reveal their impact on later practices in art cinema.
Visions of Dystopia in China's New Historical Novels
by Jeffrey C. KinkleyThe epic narratives of modern Chinese fiction feature graphic depictions of sex and violence and dark, raunchy comedy, and these novels deeply reflect China's turbulent recent history
Visions of Invasion: Alien Affects, Cinema, and Citizenship in Settler Colonies (Race, Rhetoric, and Media Series)
by Michael LechugaVisions of Invasion: Alien Affects, Cinema, and Citizenship in Settler Colonies explores how the US government mobilizes media and surveillance technologies to operate a highly networked, multidimensional system for controlling migrants. Author Michael Lechuga focuses on three arenas where a citizenship control assemblage manufactures alienhood: Hollywood extraterrestrial invasion film, federal antimigration and border security legislation, and various immigration enforcement protocols implemented along the Mexico–United States border. Building on rhetorical studies, settler colonial studies, and media studies, Visions of Invasion offers a glimpse at how the processes of alien-making contribute to an ongoing settler colonial project in the US. Lechuga demonstrates that popular films—The War of the Worlds, Predator, Men in Black, and more—participate in the production of migrants as subjective terrorists, felons, and other noncitizen personae vilified in public discourse. Beyond just tracing how alien invasion narratives circulate in popular media, Lechuga describes how the logics motivating early US colonists materialize in both the US’s citizenship control policy and in some of the country’s most popular texts. Beneath each of the film franchises and antimigrant political expressions described in Visions of Invasion lies an anxious colonial logic in which the settler way of life is seemingly threated by false narratives of imminent invasion from abroad. The volume offers a deep dive into how the rhetorical figure of the alien has been manufactured as a political subjectivity, one that plays out the anxieties, guilts, and fears of colonialism in today’s science fiction landscape.
Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925
by Aaron GerowGerow explores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. He focuses in particular on how one trend in criticism, the Pure Film Movement, changed not only the way films were made, but also how they were conceived.
Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925
by Aaron GerowJapan has done marvelous things with cinema, giving the world the likes of Kurosawa, Mizoguchi, and Ozu. But cinema did not arrive in Japan fully formed at the end of the nineteenth century, nor was it simply adopted into an ages-old culture. Aaron Gerow explores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. He focuses in particular on how one trend in criticism, the Pure Film Movement, changed not only the way films were made, but also how they were conceived. Looking closely at the work of critics, theorists, intellectuals, benshi artists, educators, police, and censors, Gerow finds that this trend established a way of thinking about cinema that would reign in Japan for much of the twentieth century.
Visions of Yesterday (Routledge Library Editions: Cinema)
by Jeffrey RichardsFilm is an important source of social history, as well as having been a popular art form from the early twentieth century. This study shows how a society, consciously or unconsciously, is mirrored in its cinema. It considers the role of the cinema in dramatizing popular beliefs and myths, and takes three case studies – American populism, British imperialism, German Nazism – to explain how a nation’s pressures, tensions and hopes come through in its films. Examining the American cinema is accomplished by analysing the careers of three great directors, John Ford, Frank Capra and Leo McCarey, while the British and German cinemas are studied by theme. The analysis of the British Empire as seen in film broke exciting new ground with a pioneering account of ‘the cinema of Empire’ when it was first published in 1973. With full filmographies and a carefully selected bibliography it is an outstanding work of reference and its lively approach makes it a delight to read. Reviews of the original edition: ‘A work of considerable force and considerable wit.’ – Clive James, Observer ‘…a work that is original, mentally stimulating and most pleasurable to read.’ – Focus on Film
Visions of a New Land
by Emma WiddisIn 1917 the Bolsheviks proclaimed a world remade. The task of the new regime, and of the media that served it, was to reshape the old world in revolutionary form, to transform the vast, "ungraspable" space of the Russian Empire into the mapped territory of the Soviet Union. This book shows how Soviet cinema encouraged popular support for state initiatives in the years between the revolution and the Second World War, helping to create a new Russian identity and territory--an "imaginary geography" of Sovietness. Drawing on a vast range of little-known texts, Emma Widdis offers a unique cultural history of the early Soviet period. In particular, she shows how films projected the new Soviet map onto the great shared screen of the popular imagination.
Visions of the Apocalypse: Spectacles of Destruction in American Cinema
by Dixon Wheeler WinstonVisions of the Apocalypse examines the cinema's fascination with the prospect of nuclear and/or natural annihilation, as seen in such films as Saving Private Ryan, Bowling for Columbine, We Were Soldiers, Invasion U.S.A., The Last War, Tidal Wave, The Bed Sitting Room, The Last Days of Man on Earth and numerous others. It also considers the ways in which contemporary cinema has become increasingly hyper-conglomerised, leading to films with ever-higher budgets and fewer creative risks. Along the way, the author discusses such topics as the death of film itself, to be replaced by digital video; the political and social tensions that have made these visions of infinite destruction so appealing to the public; and the new wave of Hollywood war films, coupled with escapist comedies, in the post-9/11 era. Encompassing both questions of physical and filmic mortality Visions of the Apocalypse is a meditation on the questions of time, memory and the cinema's seemingly unending appetite for spectacles of destruction.
Visions of the Apocalypse: Spectacles of Destruction in American Cinema
by Dixon Wheeler WinstonVisions of the Apocalypse examines the cinema's fascination with the prospect of nuclear and/or natural annihilation, as seen in such films as Saving Private Ryan, Bowling for Columbine, We Were Soldiers, Invasion U.S.A., The Last War, Tidal Wave, The Bed Sitting Room, The Last Days of Man on Earth and numerous others. It also considers the ways in which contemporary cinema has become increasingly hyper-conglomerised, leading to films with ever-higher budgets and fewer creative risks. Along the way, the author discusses such topics as the death of film itself, to be replaced by digital video; the political and social tensions that have made these visions of infinite destruction so appealing to the public; and the new wave of Hollywood war films, coupled with escapist comedies, in the post-9/11 era. Encompassing both questions of physical and filmic mortality Visions of the Apocalypse is a meditation on the questions of time, memory and the cinema's seemingly unending appetite for spectacles of destruction.
Visions of the Apocalypse: Spectacles of Destruction in American Cinema (Film Studies)
by Wheeler Winston DixonVisions of the Apocalypse examines the cinema's fascination with the prospect of nuclear and/or natural annihilation, as seen in such films as Saving Private Ryan, Bowling for Columbine, We Were Soldiers, Invasion U.S.A., The Last War, Tidal Wave, The Bed Sitting Room, The Last Days of Man on Earth and numerous others. It also considers the ways in which contemporary cinema has become increasingly hyper-conglomerised, leading to films with ever-higher budgets and fewer creative risks. Along the way, the author discusses such topics as the death of film itself, to be replaced by digital video; the political and social tensions that have made these visions of infinite destruction so appealing to the public; and the new wave of Hollywood war films, coupled with escapist comedies, in the post-9/11 era. Encompassing both questions of physical and filmic mortality Visions of the Apocalypse is a meditation on the questions of time, memory and the cinema's seemingly unending appetite for spectacles of destruction.
Visions of the Past: The Challenge of Film to Our Idea of History
by Robert A. RosenstoneCan filmed history measure up to written history? What happens to history when it is recorded in images, rather than words? Can images convey ideas and information that lie beyond words? Taking on these timely questions, Robert Rosenstone pioneers a new direction in the relationship between history and film. Rosenstone moves beyond traditional approaches, which examine the history of film as art and industry, or view films as texts reflecting their specific cultural contexts. This essay collection makes a radical venture into the investigation of a new concern: how a visual medium, subject to the conventions of drama and fiction, might be used as a serious vehicle for thinking about our relationship with the past. Rosenstone looks at history films in a way that forces us to reconceptualize what we mean by "history." He explores the innovative strategies of films made in Africa, Latin America, Germany, and other parts of the world. He journeys into the history of film in a wide range of cultures, and expertly traces the contours of the postmodern historical film. In essays on specific films, including Reds, JFK, and Sans Soleil, he considers such issues as the relationship between fact and film and the documentary as visionary truth. Theorists have for some time been calling our attention to the epistemological and literary limitations of traditional history. The first sustained defense of film as a way of thinking historically, this book takes us beyond those limitations.
Visitation: The Conjure Work of Black Feminist Avant-Garde Cinema
by Jennifer DeClueIn Visitation, Jennifer DeClue shows how Black feminist avant-garde filmmakers draw from historical archives in order to visualize and reckon with violence suffered by Black women in the United States. DeClue argues that these filmmakers—including Kara Walker, Kara Lynch, Tourmaline, and Ja’Tovia Gary—create spaces of mourning and reckoning rather than voyeurism and pornotropy. Through their use of editing, performance, and cinematic experimentation, these filmmakers intervene in the production of Blackness and activate new ways of seeing Black women and telling their stories. Theorizing these films as a form of conjure work, DeClue shows how these filmmakers raise the specters of Black women from the past and invite them to reveal history from their point of view. In so doing, Black feminist avant-garde filmmakers channel spirits that haunt archives and create cinematic arenas for witnessing Black women battling for survival during pivotal and exceedingly violent moments in US history.Duke University Press Scholars of Color First Book Award recipient
Visual Alterity: Seeing Difference in Cinema
by Randall HalleReconsidering the dynamics of perception Using cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception. Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing.
Visual Character Development in Film and Television: Your Character is Your Canvas
by Michael Hanly Elisabeth RowneyThis book takes a unique look at visual character development in motion pictures and television by using famous works of art combined with modern works of film and television to demonstrate how to weave a visual tale. In a single shot or scene, what should we reveal about a character? What should we conceal? How can we show a character’s progression over time? In Visual Character Development in Film and Television, authors Michael Hanly and Elisabeth Rowney explain how to create compelling visual characters for the screen by analyzing fine art aesthetics and combining them with modern cinematic techniques. Full-color chapters cover character-driven approaches to costume design and makeup application, production design, cinematography and lighting, plot development, editing considerations, and more. By exploring how surroundings, habits, lifestyles – even the color of a sweater – can tell us more about a character on the screen than what can be said in dialogue alone, this book will prove a valuable resource for anyone wanting to take their filmmaking to the next level.
Visual Communication for Social Work Practice: Power, Culture, Analysis (Routledge Advances in Social Work)
by Sonia M. TascónHow are we to understand how the dominance of visual images and representations in late modernity affects Social Work practice, research and education? Social workers are increasingly using still and moving images to illustrate their work, to create new knowledge, and to further specific groups’ interests. As a profession in which communication is central, visual practices are becoming ever more significant as they seek to carry out their work with, and for, the marginalised and disenfranchised. It is time for the profession to gain more critical, analytical, and practical knowledge of visual culture and communication, in order to use and create images in accordance with its central principle of social justice. That requires an understanding of them beyond representation. As important as this is, it is also where the profession’s scholarly work in this area has remained and halted, and thus understanding of the work of images in our practices is limited. In order to more fully understand images and their effects – both ideologically and experientially – social workers need to bring to bear other areas of study such as reception studies, visual phenomenology, and the gaze. These other analytical frames enable a consideration not only of images per se, but also of their effect on the viewer, the human spectators, and the subjects at the heart of Social Work. By bringing understandings and experiences in Film, Media, and Communications, Visual Communication for Social Work Practice provides the reader with a wide range of critically analytical frames for practitioners, activists, educators, and researchers as they use and create images. This invites a deeper knowledge and familiarity with the power dimensions of the image, thus aligning with the social justice dimension of Social Work. Examples are provided from cinema, popular media, but more importantly from Social Work practitioners themselves to demonstrate what has already been made possible as they create and use images to further the interpersonal, communal, and justice dimensions of their work. This book will be of interest to scholars, students, and social workers, particularly those with an interest in critical and creative methodologies.
Visual Culture
by Norman Bryson Michael Ann Holly Keith Moxey"We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the past," declare the editors, who also coedited Visual Theory: Painting and Interpretation (1990). The field of art history is not unique in finding itself challenged and enlarged by cultural debates over issues of class, ethnicity, nationality, sexual orientation, and gender. Visual Culture assembles some of the foremost scholars of cultural studies and art history to explore new critical approaches to a history of representation seen as something different from a history of art.CONTRIBUTORS: Andres Ross, Michael Ann Holly, Mieke Bal, David Summers, Constance Penley, Kaja Silverman, Ernst Van Alphen, Norman Bryson, Wolfgang Kemp, Whitney Davis, Thomas Crow, Keith Moxey, John Tagg, Lisa Tickner.Ebook Edition Note: Ebook edition note: all illustrations have been redacted.
Visual Culture Wars at the Borders of Contemporary China: Art, Design, Film, New Media and the Prospects of “Post-West” Contemporaneity (Contemporary East Asian Visual Cultures, Societies and Politics)
by Paul Gladston Beccy Kennedy-Schtyk Ming TurnerThis edited collection brings together essays that share in a critical attention to visual culture as a means of representing, contributing to and/or intervening with discursive struggles and territorial conflicts currently taking place at and across the outward-facing and internal borders of the People’s Republic of China. Elucidated by the essays collected here for the first time is a constellation of what might be described as visual culture wars comprising resistances on numerous fronts not only to the growing power and expansiveness of the Chinese state but also the residues of a once pervasively suppressive Western colonialism/imperialism. The present volume addresses visual culture related to struggles and conflicts at the borders of Hong Kong, the South China Sea and Taiwan as well within the PRC with regard the so-called “Great Firewall of China” and differences in discursive outlook between China and the West on the significances of art, technology, gender and sexuality. In doing so, it provides a vital index of twenty-first century China’s diversely conflicted status as a contemporary nation-state and arguably nascent empire.
Visual Effects for Film and Television (Media Manual Ser.)
by Mitch Mitchell* An invaluable insight into the use of visual effects in film and television* Fully illustrated with diagrams to show you step-by-step techniques* Covers visual effects processes from front-of-camera to post-production* Integrated approach to film, video and digital techniques* Redefines the rules of photography so that they can be broken for effects* Shows the line of development from the oldest to the newest processes* A must for cinematographers, editors, designers and students of VFX alike * Everything you need to know to plan and supervise visual effects shots* Essential reading for anyone working in commercials/advertising photography or effectsWritten by an experienced professional, this manual is the essential guide to understanding the principles and background of modern visual effects.Visual effects are at the forefront of a digital revolution in the film and video industry and are becoming more and more important to movie language. This book teaches the practical techniques and skills required to incorporate effects successfully into both film and television production.
Visual Effects for Indie Filmmakers: A Guide to VFX Integration and Artist Collaboration
by Shaina Holmes Laurie Powers GoingThis book provides independent filmmakers and VFX artists with tools to work collaboratively and effectively on their low-budget films. Experts Shaina Holmes and Laurie Powers Going define common VFX needs and demystify the process of incorporating VFX into all stages of production. The book covers every step of the process, including when to consider using VFX, basics of 2D and 3D methodology, budgeting, virtual production, on-set supervision, and more. It provides tips and tricks to common VFX questions, such as color management and file types, along with practical solutions for the production team while on-set working with VFX scenes. The incorporation of testimonials from indie filmmakers and VFX/post production professionals brings a voice to both sides of the table and provides real-world scenarios for the techniques described. The book offers realistic lower-budget alternative solutions to achieving big-budget vision. This book is ideal for students on a micro budget and independent filmmakers on low to mid budgets working with visual effects for photorealistic film, TV, and short-form projects.