Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
121,422
result(s) for
"Criticism and interpretation"
Sort by:
Critical distance in documentary media
This collection of essays presents new formulations of ideas and practices within documentary media that respond critically to the multifaceted challenges of our age. As social media, augmented reality, and interactive technologies play an increasing role in the documentary landscape, new theorizations are needed to account for how such media both represents recent political, socio-historical, environmental, and representational shifts, and challenges the predominant approaches by promoting new critical sensibilities. The contributions to this volume approach the idea of \"critical distance\" in a documentary context and in subjects as diverse as documentary exhibitions, night photography, drone imagery, installation art, mobile media, nonhuman creative practices, sound art and interactive technologies. It is essential reading for scholars, practitioners and students working in fields such as documentary studies, film studies, cultural studies, contemporary art history and digital media studies.
Book
Maximum Movies—Pulp Fictions
In the words of Richard Maltby . . . \"Maximum Movies--Pulp Fictions describes two improbably imbricated worlds and the piece of cultural history their intersections provoked.\" One of these worlds comprises a clutch of noisy, garish pulp movies--Kiss Me Deadly, Shock Corridor, Fixed Bayonets!, I Walked with a Zombie, The Lineup, Terror in a Texas Town, Ride Lonesome--pumped out for the grind houses at the end of the urban exhibition chain by the studios' B-divisions and fly-by-night independents. The other is occupied by critics, intellectuals, cinephiles, and filmmakers such as Jean-Luc Godard, Manny Farber, and Lawrence Alloway, who championed the cause of these movies and incited the cultural guardians of the day by attacking a rigorously policed canon of tasteful, rarified, and ossified art objects. Against the legitimate, and in defense of the illegitimate, in an insolent and unruly manner, they agitated for the recognition of lurid sensational crime stories, war pictures, fast-paced Westerns, thrillers, and gangster melodramas were claimed as examples of the true, the real, and the authentic in contemporary culture--the foundation upon which modern film studies sits.
eBook
New Music at Darmstadt
New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School', through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event Carl Dahlhaus opined 'swept across the European avant-garde like a natural disaster'.
eBook
Disturbing Indians
How Faulkner, Welty, Lytle, and Gordon reimagined and
reconstructed the Native American past in their
work.
In this book, Annette Trefzer argues that not only have
Native Americans played an active role in the construction of
the South’s cultural landscape—despite a history of
colonization, dispossession, and removal aimed at rendering
them invisible—but that their under-examined presence in
southern literature also provides a crucial avenue for a
post-regional understanding of the American South. William
Faulkner, Eudora Welty, Andrew Lytle, and Caroline Gordon
created works about the Spanish conquest of the New World, the
Cherokee frontier during the Revolution, the expansion into the
Mississippi Territory, and the slaveholding societies of the
American southeast. They wrote 100 years after the forceful
removal of Native Americans from the southeast but consistently
returned to the idea of an \"Indian frontier,\" each articulating
a different vision and discourse about Native
Americans—wholesome and pure in the vision of some,
symptomatic of hybridity and universality for others.
Trefzer contends that these writers engage in a double
discourse about the region and nation: fabricating regional
identity by invoking the South’s \"native\" heritage and
pointing to issues of national guilt, colonization, westward
expansion, and imperialism in a period that saw the US sphere
of influence widen dramatically. In both cases, the \"Indian\"
signifies regional and national self-definitions and
contributes to the shaping of cultural, racial, and national
\"others.\" Trefzer employs the idea of archeology in two senses:
quite literally the excavation of artifacts in the South during
the New Deal administration of the 1930s (a surfacing of
material culture to which each writer responded) and archeology
as a method for exploring texts she addresses (literary digs
into the textual strata of America’s literature and its
cultural history).
eBook
William of Ockham’s Early Theory of Property Rights in Context
This book analyzes William of Ockham's early theory of property rights alongside those of his fellow dissident Franciscans, paying careful attention to each friar's use of Roman and civil law, which provided the conceptual building blocks of the poverty controversy.
eBook
Partners in suspense
For a decade from 1955, Alfred Hitchcock worked almost exclusively with one composer: Bernard Herrmann. From The Trouble with Harry to the bitter spat surrounding Torn Curtain, the partnership gave us some of cinema’s most memorable musical moments, taught us to stay out of the shower, away from heights and never to spend time in corn fields. Consequently, fascination with their work and relationship endures fifty years later. This volume of new, spellbinding essays explores their tense working relationship as well as their legacy, from crashing cymbals to the sound of The Birds.The volume brings together new work and new perspectives on the relationship between Hitchcock and Herrmann. Featuring new essays by leading scholars of Hitchcock’s work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb, and Jack Sullivan, the volume examines the working relationship between the pair and the contribution that Herrmann’s work brings to Hitchcock’s idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the collection explores approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann’s work with Hitchcock brought to this body of films.Partners in Suspense examines the significance, meanings, histories and enduring legacies of one of film history’s most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the essays in the collection examine the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways such a partnership inspires later work.
eBook