Catalogue - page 7

Affiche du document Ocean Beings

Ocean Beings

Rebcca Hayter

1h30min00

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120 pages. Temps de lecture estimé 1h30min.
OCEAN beings ROSABELLE BOSWELL, JESSICA LEIGH THORNTON, & REBECCA HAYTER Photographs by Laetitia Bosch & Francois Du Plessis OCEAN beings Qu’est-ce que l’amour? C’est le sentiment qu’on n’a plus besoin de rien d’autre. Beaucoup d’entre nous ne connaissent peut-être pas l’amour, mais la plupart connaissent l’océan. Dans ce cas, nous n’avons besoin que de l’océan. OCEAN beings ROSABELLE BOSWELL, JESSICA LEIGH THORNTON, & REBECCA HAYTER Photographs by Laetitia Bosch & Francois Du Plessis What is love? It’s the feeling that we no longer need anything else. Many of us may not know love, but most of us know the ocean. In this Langaa Research & Publishing CIG case, we only need the ocean. Mankon, Bamenda 4 5 OCEAN beings Qu’est-ce que l’amour? C’est le sentiment qu’on n’a plus besoin de rien d’autre. Beaucoup d’entre nous ne connaissent peut-être pas l’amour, mais la plupart connaissent l’océan. Dans ce cas, nous n’avons besoin que de l’océan. OCEAN beings ROSABELLE BOSWELL, JESSICA LEIGH THORNTON, & REBECCA HAYTER Photographs by Laetitia Bosch & Francois Du Plessis What is love? It’s the feeling that we no longer need anything else. Many of us may not know love, but most of us know the ocean. In this Langaa Research & Publishing CIG case, we only need the ocean. Mankon, Bamenda 4 5 OCEAN beings Publisher: Langaa RPCIG Langaa Research & Publishing Common Initiative Group P.O.
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Affiche du document Pleasures Taken

Pleasures Taken

Mavor Carol Mavor

2h33min45

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205 pages. Temps de lecture estimé 2h34min.
An intimate look into three Victorian photo-settings, Pleasures Taken considers questions of loss and sexuality as they are raised by some of the most compelling and often misrepresented photographs of the era: Lewis Carroll's photographs of young girls; Julia Margaret Cameron's photographs of Madonnas; and the photographs of Hannah Cullwick, a "maid of all work," who had herself pictured in a range of masquerades, from a blackened chimney sweep to a bare-chested Magdalene. Reading these settings performatively, Carol Mavor shifts the focus toward the subjectivity of these girls and women, and toward herself as a writer.Mavor's original approach to these photographs emphatically sees sexuality where it has been previously rendered invisible. She insists that the sexuality of the girls in Carroll's pictures is not only present, but deserves recognition, respect, and scrutiny. Similarly, she sees in Cameron's photographs of sensual Madonnas surprising visions of motherhood that outstrip both Victorian and contemporary understandings of the maternal as untouchable and inviolate, without sexuality. Finally she shows how Hannah Cullwick, posing in various masquerades for her secret paramour, emerges as a subject with desires rather than simply a victim of her upper-class partner. Even when confronting the darker areas of these photographs, Mavor perseveres in her insistence on the pleasures taken-by the viewer, the photographer, and often by the model herself-in the act of imagining these sexualities. Inspired by Roland Barthes, and drawing on other theorists such as Julia Kristeva and Luce Irigaray, Mavor creates a text that is at once interdisciplinary, personal, and profoundly pleasurable.
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Affiche du document Photography's Other Histories

Photography's Other Histories

Christopher Pinney

3h42min00

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296 pages. Temps de lecture estimé 3h42min.
Moving the critical debate about photography away from its current Euro-American center of gravity, Photography's Other Histories breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a radically different account, describing photography as a globally disseminated and locally appropriated medium. Essays firmly grounded in photographic practice-in the actual making of pictures-suggest the extraordinary diversity of nonwestern photography.Richly illustrated with over 100 images, Photography's Other Histories explores from a variety of regional, cultural, and historical perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Dine' artist. Some of the essays analyze representations of colonial subjects-from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria to the changing "contract" between Aboriginal subjects and photographers. Other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. Photography's Other Histories recasts popular photography around the world, as not simply reproducing culture but creating it.Contributors. Michael Aird, Heike Behrend, Jo-Anne Driessens, James Faris, Morris Low, Nicolas Peterson, Christopher Pinney, Roslyn Poignant, Deborah Poole, Stephen Sprague, Hulleah Tsinhnahjinnie, Christopher Wright
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Affiche du document Ocean Beings

Ocean Beings

Rebecca Hayter

1h30min00

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120 pages. Temps de lecture estimé 1h30min.
This book showcases images of Ocean Beings in Africa, specifically southern and East Africa. It reflects Africa’s coastal intangible cultural heritage, that is, the ritual practices, beliefs and symbolism of humans engaged with the ocean – as well as Africa’s coastal tangible cultural heritage (artifacts, monuments and varied forms of material culture). In sum, the ocean is our collective heritage. It has much to contribute to our understanding of balanced ecosystems, values and practices. And, as this project unfolds, it is likely to reveal new intellectual and cultural paradigms for a sustainable and equitable ocean domain.
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Affiche du document Peace of the Senses

Peace of the Senses

Tendai Mwanaka

1h28min30

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118 pages. Temps de lecture estimé 1h28min.
Peace of the Senses: How to Fight the FAGS is a collection of interlinked photographs that deals with the human story in several existential perspectives, especially how we find joy and happiness in difficult circumstances in life. Thus the images in this book celebrate human life, makes funny of difficult situations we go through. There is an element of the comedian in the photos, and it sometimes would create huge howls of laughter, sometimes chuckles and smiles. We go with the adage laughter is the best medicine in this work, and I believe this creates the peace of the senses, as the title presupposes. A set of common themes and philosophical questions permeates the book, bringing the narrative together as an author’s self-interrogation through invented others. Detecting the thematic threads whilst paying attention to the differences requires one to experience the book both horizontally and vertically, following a narrative that seems as much widening as deepening.
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Affiche du document Zimbolicious Anthology Volume 8

Zimbolicious Anthology Volume 8

Matthew Chikono

2h43min30

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218 pages. Temps de lecture estimé 2h43min.
Despite the current economic and political situation in our country, poets, writers, artists, and other creatives have defied the odds and continued to churn their works and submit to produce this marvelous anthology. This eighth installment continues the tradition of giving new writers the platform to shine and to the seasoned writers, a shebeen to meet again and prolong the tradition. We hope you continue to read and follon the Zimbolicious anthology series.
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Affiche du document Our Lady of the Rock

Our Lady of the Rock

M. Bitel Lisa

2h48min00

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224 pages. Temps de lecture estimé 2h48min.
For more than twenty years, Maria Paula Acuna has claimed to see the Virgin Mary, once a month, at a place called Our Lady of the Rock in the Mojave Desert of California. Hundreds of men, women, and children follow her into the desert to watch her see what they cannot. While she sees and speaks with the Virgin, onlookers search the skies for signs from heaven, snapping photographs of the sun and sky. Not all of them are convinced that Maria Paula can see the Virgin, yet at each vision event they watch for subtle clues to Mary's presence, such as the unexpected scent of roses or a cloud in the shape of an angel. The visionary depends on her audience to witness and authenticate her visions, while observers rely on Maria Paula and the Virgin to create a sacred space and moment where they, too, can experience firsthand one of the oldest and most fundamental promises of Christianity: direct contact with the divine. Together, visionary and witnesses negotiate and enact their monthly liturgy of revelations.Our Lady of the Rock, which features text by Lisa M. Bitel and more than sixty photographs by Matt Gainer, shows readers what happens in the Mojave Desert each month and tells us how two thousand years of Christian revelatory tradition prepared Maria Paula and her followers to meet in the desert. Based on six years of observation and interviews, chapters analyze the rituals, iconographies, and physical environment of Our Lady of the Rock. Bitel and Gainer also provide vivid portraits of the pilgrims-who they are, where they come from, and how they practice the traditional Christian discernment of spirits and visions.Our Lady of the Rock follows three pilgrims as they return home with relics and proofs of visions where, out of Maria Paula's sight, they too have learned to see the Virgin. The book also documents the public response from the Catholic Church and popular news media to Maria Paula and other contemporary visionaries. Throughout, Our Lady of the Rock locates Maria Paula and her followers in the context of recent demographic and cultural shifts in the American Southwest, the astonishing increase in reported apparitions and miracles from around the world, the latest developments in communications and visual technologies, and the never-ending debate among academics, faith leaders, scientists, and citizen observers about sight, perception, reason, and belief.
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Affiche du document Death Makes the News

Death Makes the News

M. Fishman Jessica

2h09min00

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172 pages. Temps de lecture estimé 2h09min.
Winner of the 2018 Media Ecology Association''s Erving Goffman Award for Outstanding Scholarship in the Ecology of Social InteractionWinner of the Eastern Communication Association''s Everett Lee Hunt AwardA behind-the-scenes account of how death is presented in the mediaDeath is considered one of the most newsworthy events, but words do not tell the whole story. Pictures are also at the epicenter of journalism, and when photographers and editors illustrate fatalities, it often raises questions about how they distinguish between a “fit” and “unfit” image of death.Death Makes the News is the story of this controversial news practice: picturing the dead. Jessica Fishman uncovers the surprising editorial and political forces that structure how the news and media cover death. The patterns are striking, overturning long-held assumptions about which deaths are newsworthy and raising fundamental questions about the role that news images play in our society.In a look behind the curtain of newsrooms, Fishman observes editors and photojournalists from different types of organizations as they deliberate over which images of death make the cut, and why. She also investigates over 30 years of photojournalism in the tabloid and patrician press to establish when the dead are shown and whose dead body is most newsworthy, illustrating her findings with high-profile news events, including recent plane crashes, earthquakes, hurricanes, homicides, political unrest, and war-time attacks. Death Makes the News reveals that much of what we think we know about the news is wrong: while the patrician press claims that they do not show dead bodies, they are actually more likely than the tabloid press to show them—even though the tabloids actually claim to have no qualms showing these bodies. Dead foreigners are more likely to be shown than American bodies. At the same time, there are other unexpected but vivid patterns that offer insight into persistent editorial forces that routinely structure news coverage of death. An original view on the depiction of dead bodies in the media, Death Makes the News opens up new ways of thinking about how death is portrayed.
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Affiche du document Photography on the Color Line

Photography on the Color Line

Smith Shawn Michelle Smith

3h21min45

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269 pages. Temps de lecture estimé 3h22min.
Through a rich interpretation of the remarkable photographs W. E. B. Du Bois compiled for the American Negro Exhibit at the 1900 Paris Exposition, Shawn Michelle Smith reveals the visual dimension of the color line that Du Bois famously called "the problem of the twentieth century." Du Bois's prize-winning exhibit consisted of three albums together containing 363 black-and-white photographs, mostly of middle-class African Americans from Atlanta and other parts of Georgia. Smith provides an extensive analysis of the images, the antiracist message Du Bois conveyed by collecting and displaying them, and their connection to his critical thought. She contends that Du Bois was an early visual theorist of race and racism and demonstrates how such an understanding makes the important concepts he developed-including double consciousness, the color line, the Veil, and second sight-available to visual culture and African American studies scholars in powerful new ways.Smith reads Du Bois's photographs in relation to other turn-of-the-century images such as scientific typologies, criminal mugshots, racist caricatures, and lynching photographs. By juxtaposing these images with reproductions from Du Bois's exhibition archive, Smith shows how Du Bois deliberately challenged racist representations of African Americans. Emphasizing the importance of comparing multiple visual archives, Photography on the Color Line reinvigorates understandings of the stakes of representation and the fundamental connections between race and visual culture in the United States.
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Affiche du document Eye Contact

Eye Contact

Lydon Jane Lydon

4h08min15

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331 pages. Temps de lecture estimé 4h08min.
An indigenous reservation in the colony of Victoria, Australia, the Coranderrk Aboriginal Station was a major site of cross-cultural contact the mid-nineteenth century and early twentieth. Coranderrk was located just outside Melbourne, and from its opening in the 1860s the colonial government commissioned many photographs of its Aboriginal residents. The photographs taken at Coranderrk Station circulated across the western world; they were mounted in exhibition displays and classified among other ethnographic "data" within museum collections. The immense Coranderrk photographic archive is the subject of this detailed, richly illustrated examination of the role of visual imagery in the colonial project. Offering close readings of the photographs in the context of Australian history and nineteenth- and early-twentieth-century photographic practice, Jane Lydon reveals how western society came to understand Aboriginal people through these images. At the same time, she demonstrates that the photos were not solely a tool of colonial exploitation. The residents of Coranderrk had a sophisticated understanding of how they were portrayed, and they became adept at manipulating their representations.Lydon shows how the photographic portrayals of the Aboriginal residents of Coranderrk changed over time, reflecting various ideas of the colonial mission-from humanitarianism to control to assimilation. In the early twentieth century, the images were used on stereotypical postcards circulated among the white population, showing what appeared to be compliant, transformed Aboriginal subjects. The station closed in 1924 and disappeared from public view until it was rediscovered by scholars years later. Aboriginal Australians purchased the station in 1998, and, as Lydon describes, today they are using the Coranderrk photographic archive in new ways, to identify family members and tell stories of their own.
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Affiche du document Eye for the Tropics

Eye for the Tropics

Thompson Krista A. Thompson

5h15min45

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421 pages. Temps de lecture estimé 5h16min.
Images of Jamaica and the Bahamas as tropical paradises full of palm trees, white sandy beaches, and inviting warm water seem timeless. Surprisingly, the origins of those images can be traced back to the roots of the islands' tourism industry in the 1880s. As Krista A. Thompson explains, in the late nineteenth century, tourism promoters, backed by British colonial administrators, began to market Jamaica and the Bahamas as picturesque "tropical" paradises. They hired photographers and artists to create carefully crafted representations, which then circulated internationally via postcards and illustrated guides and lectures.Illustrated with more than one hundred images, including many in color, An Eye for the Tropics is a nuanced evaluation of the aesthetics of the "tropicalizing images" and their effects on Jamaica and the Bahamas. Thompson describes how representations created to project an image to the outside world altered everyday life on the islands. Hoteliers imported tropical plants to make the islands look more like the images. Many prominent tourist-oriented spaces, including hotels and famous beaches, became off-limits to the islands' black populations, who were encouraged to act like the disciplined, loyal colonial subjects depicted in the pictures.Analyzing the work of specific photographers and artists who created tropical representations of Jamaica and the Bahamas between the 1880s and the 1930s, Thompson shows how their images differ from the English picturesque landscape tradition. Turning to the present, she examines how tropicalizing images are deconstructed in works by contemporary artists-including Christopher Cozier, David Bailey, and Irenee Shaw-at the same time that they remain a staple of postcolonial governments' vigorous efforts to attract tourists.
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Affiche du document Still Moving

Still Moving

Karen Beckman and Jean Ma; eds.

4h03min45

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325 pages. Temps de lecture estimé 4h4min.
In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another.Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily interdisciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become.Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff,Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan,Jean Ma, Janet Sarbanes, Juan A. Suarez
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Affiche du document Refracted Visions

Refracted Visions

Strassler Karen Strassler

5h00min00

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400 pages. Temps de lecture estimé 5h00min.
A young couple poses before a painted backdrop depicting a modern building set in a volcanic landscape; a college student grabs his camera as he heads to a political demonstration; a man poses stiffly for his identity photograph; amateur photographers look for picturesque images in a rural village; an old woman leafs through a family album. In Refracted Visions, Karen Strassler argues that popular photographic practices such as these have played a crucial role in the making of modern national subjects in postcolonial Java. Contending that photographic genres cultivate distinctive ways of seeing and positioning oneself and others within the affective, ideological, and temporal location of Indonesia, she examines genres ranging from state identification photos to pictures documenting family rituals.Oriented to projects of selfhood, memory, and social affiliation, popular photographs recast national iconographies in an intimate register. They convey the longings of Indonesian national modernity: nostalgia for rural idylls and "tradition," desires for the trappings of modernity and affluence, dreams of historical agency, and hopes for political authenticity. Yet photography also brings people into contact with ideas and images that transcend and at times undermine a strictly national frame. Photography's primary practitioners in the postcolonial era have been Chinese Indonesians. Acting as cultural brokers who translate global and colonial imageries into national idioms, these members of a transnational minority have helped shape the visual contours of Indonesian belonging even as their own place within the nation remains tenuous. Refracted Visions illuminates the ways that everyday photographic practices generate visual habits that in turn give rise to political subjects and communities.
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Affiche du document Beautiful Generation

Beautiful Generation

Tu Thuy Linh Nguyen Tu

3h23min15

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271 pages. Temps de lecture estimé 3h23min.
Since the 1990s, young Asian Americans including Doo-Ri Chung, Derek Lam, Thakoon Panichgul, Alexander Wang, and Jason Wu have emerged as leading fashion designers. They have won prestigious awards, been chosen to head major clothing labels, and had their designs featured in Vogue, Harper's Bazaar, and other fashion magazines. At the same time that these designers were rising to prominence, the fashion world was embracing Asian chic. During the 1990s, "Asian" shapes, fabrics, iconography, and colors filled couture runways and mass-market clothing racks. In The Beautiful Generation, Thuy Linh Nguyen Tu explores the role of Asian American designers in New York's fashion industry, paying particular attention to how they relate to the garment workers who produce their goods and to Asianness as a fashionable commodity. She draws on conversations with design students, fashion curators, and fashion publicists; interviews with nearly thirty Asian American designers who have their own labels; and time spent with those designers in their shops and studios, on their factory visits, and at their fashion shows. The Beautiful Generation links the rise of Asian American designers to historical patterns of immigration, racial formation, and globalized labor, and to familial and family-like connections between designers and garment workers.
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Affiche du document Photographies East

Photographies East

Rosalind C. Morris (Editor)

4h03min00

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324 pages. Temps de lecture estimé 4h03min.
Introducing Photographies East, Rosalind C. Morris notes that although the camera is now a taken-for-granted element of everyday life in most parts of the world, it is difficult to appreciate "the shock and sense of utter improbability that accompanied the new technology" as it was introduced in Asia (and elsewhere). In this collection, scholars of Asia, most of whom are anthropologists, describe frequent attribution of spectral powers to the camera, first brought to Asia by colonialists, as they examine the transformations precipitated or accelerated by the spread of photography across East and Southeast Asia. In essays resonating across theoretical, historical, and geopolitical lines, they engage with photography in China, Japan, Taiwan, and Thailand, and on the islands of Aru, Aceh, and Java in what is now Indonesia.The contributors analyze how in specific cultural and historical contexts, the camera has affected experiences of time and subjectivity, practices of ritual and tradition, and understandings of death. They highlight the links between photography and power, looking at how the camera has figured in the operations of colonialism, the development of nationalism, the transformation of monarchy, and the militarization of violence. Moving beyond a consideration of historical function or effect, the contributors also explore the forms of illumination and revelation for which the camera has offered itself as instrument and symbol. And they trace the emergent forms of alienation and spectralization, as well as the new kinds of fetishism, that photography has brought in its wake. Taken together, the essays chart a bravely interdisciplinary path to visual studies, one that places the particular knowledge of a historicized anthropology in a comparative frame and in conversation with aesthetics and art history.Contributors. James L. Hevia, Marilyn Ivy, Thomas LaMarre, Rosalind C. Morris, Nickola Pazderic, John Pemberton, Carlos Rojas, James T. Siegel, Patricia Spyer
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Affiche du document Peace of the Senses

Peace of the Senses

Tendai Mwanaka

1h28min30

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118 pages. Temps de lecture estimé 1h28min.
Peace of the Senses: How to Fight the FAGS is a collection of interlinked photographs that deals with the human story in several existential perspectives, especially how we find joy and happiness in difficult circumstances in life. Thus the images in this book celebrate human life, makes funny of difficult situations we go through. There is an element of the comedian in the photos, and it sometimes would create huge howls of laughter, sometimes chuckles and smiles. We go with the adage laughter is the best medicine in this work, and I believe this creates the peace of the senses, as the title presupposes. A set of common themes and philosophical questions permeates the book, bringing the narrative together as an author’s self-interrogation through invented others. Detecting the thematic threads whilst paying attention to the differences requires one to experience the book both horizontally and vertically, following a narrative that seems as much widening as deepening.
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Affiche du document Zimbolicious Anthology Volume 8

Zimbolicious Anthology Volume 8

Matthew Chikono

2h43min30

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218 pages. Temps de lecture estimé 2h43min.
Despite the current economic and political situation in our country, poets, writers, artists, and other creatives have defied the odds and continued to churn their works and submit to produce this marvelous anthology. This eighth installment continues the tradition of giving new writers the platform to shine and to the seasoned writers, a shebeen to meet again and prolong the tradition. We hope you continue to read and follon the Zimbolicious anthology series.
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Affiche du document Inherent Vice

Inherent Vice

Hilderbrand Lucas Hilderbrand

4h21min00

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348 pages. Temps de lecture estimé 4h21min.
In an age of digital technology and renewed anxiety about media piracy, Inherent Vice revisits the recent analog past with an eye-opening exploration of the aesthetic and legal innovations of home video. Analog videotape was introduced to consumers as a blank format, essentially as a bootleg technology, for recording television without permission. The studios initially resisted VCRs and began legal action to oppose their marketing. In turn, U.S. courts controversially reinterpreted copyright law to protect users' right to record, while content owners eventually developed ways to exploit the video market. Lucas Hilderbrand shows how videotape and fair use offer essential lessons relevant to contemporary progressive media policy.Videotape not only radically changed how audiences accessed the content they wanted and loved but also altered how they watched it. Hilderbrand develops an aesthetic theory of analog video, an "aesthetics of access" most boldly embodied by bootleg videos. He contends that the medium specificity of videotape becomes most apparent through repeated duplication, wear, and technical failure; video's visible and audible degeneration signals its uses for legal transgressions and illicit pleasures. Bringing formal and cultural analysis into dialogue with industrial history and case law, Hilderbrand examines four decades of often overlooked histories of video recording, including the first network news archive, the underground circulation of Superstar: The Karen Carpenter Story, a feminist tape-sharing network, and the phenomenally popular website YouTube. This book reveals the creative uses of videotape that have made essential content more accessible and expanded our understanding of copyright law. It is a politically provocative, unabashedly nostalgic ode to analog.
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Affiche du document Borscht Belt

Borscht Belt

Marisa Scheinfeld (Photographer); Stefan Kanfer and Jenna Weissman Joselit (Essays)

2h30min00

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200 pages. Temps de lecture estimé 2h30min.
Today the Borscht Belt is recalled through the nostalgic lens of summer swims, Saturday night dances, and comedy performances. But its current state, like that of many other formerly glorious regions, is nothing like its earlier status. Forgotten about and exhausted, much of its structural environment has been left to decay. The Borscht Belt, which features essays by Stefan Kanfer and Jenna Weissman Joselit, presents Marisa Scheinfeld's photographs of abandoned sites where resorts, hotels, and bungalow colonies once boomed in the Catskill Mountain region of upstate New York. The book assembles images Scheinfeld has shot inside and outside locations that once buzzed with life as year-round havens for generations of people. Some of the structures have been lying abandoned for periods ranging from four to twenty years, depending on the specific hotel or bungalow colony and the conditions under which it closed. Other sites have since been demolished or repurposed, making this book an even more significant documentation of a pivotal era in American Jewish history. The Borscht Belt presents a contemporary view of more than forty hotel and bungalow sites. From entire expanses of abandoned properties to small lots containing drained swimming pools, the remains of the Borscht Belt era now lie forgotten, overgrown, and vacant. In the absence of human activity, nature has reclaimed the sites, having encroached upon or completely overtaken them. Many of the interiors have been vandalized or marked by paintball players and graffiti artists. Each ruin lies radically altered by the elements and effects of time. Scheinfeld's images record all of these developments.
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Affiche du document Demi Lovato & Selena Gomez

Demi Lovato & Selena Gomez

Lucy Rutherford

1h26min15

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115 pages. Temps de lecture estimé 1h26min.
Few celebrities have climbed the rungs of the entertainment industry as quickly as Demi Lovato and Selena Gomez. They met as cast-mates on Barney and became best friends. Demi then starred in the Jonas Brothers' Camp Rock while Selena has since appeared on Hannah Montana. Packed with tons of full-colour photos, this is the complete guide to these amazing Texan girls and includes information on their childhood, families, hit shows and music.
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Affiche du document Love Bites

Love Bites

Liv Spencer

2h38min15

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211 pages. Temps de lecture estimé 2h38min.
With over 42 million copies sold, Stephanie Meyer's Twilight novels have captured the hearts of a generation of readers. At the centre of the saga is the epic love story of Bella and vampire Edward. The film adaptation is a huge success also. Hitting the shops when Eclipse, the latest film, hits cinemas, Love Bites features information on: the background of Stephanie Meyer, a guide to each novel in the series, bios of the stars of the movies, 'making of' chapters about the films, fascinating information on vampire and werewolf mythology and much, much more.
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Affiche du document Trouble In The Camera Club

Trouble In The Camera Club

Don Pyle

3h46min30

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302 pages. Temps de lecture estimé 3h46min.
Starting in 1976 at the age of 14, Don Pyle witnessed and photographed some of the earliest gigs of Toronto punk acts and many of the artists whose sensibilities aligned with this new, festering subculture. Trouble in the Camera Club features almost 300 photographs by Pyle and another 200 images of related ephemera from the earliest days of Toronto's punk scene, featuring early gigs by local bands Viletones, Teenage Head, The Curse and The Diodes, as well as visiting punks the Ramones, Iggy Pop, Patti Smith, The Clash and The Stranglers.
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Affiche du document Frederick Law Olmstead

Frederick Law Olmstead

Melvin Kalfus

4h29min15

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359 pages. Temps de lecture estimé 4h29min.
Thank you for buying this ebook, published by NYU Press. Sign up for our e-newsletters to receive information about forthcoming books, special discounts, and more! Sign Up! About NYU Press A publisher of original scholarship since its founding in 1916, New York University Press Produces more than 100 new books each year, with a backlist of 3,000 titles in print. Working across the humanities and social sciences, NYU Press has award-winning lists in sociology, law, cultural and American studies, religion, American history, anthropology, politics, criminology, media and communication, literary studies, and psychology. FREDERICK LAW OLMSTED The American Social Experience Series GENERAL EDITOR: JAMES KIRBY MARTIN EDITORS: PAULA S. FASS, STEVEN H. MINTZ, CARL PRINCE, JAMES W. REED PETER N. STEARNS 1. The March to the Sea and Beyond: Sherman s Troops in the Savannah and Carolinas Campaigns JOSEPH T. GLATTHAAR 2. Childbearing in American Society: 1650-1850 CATHERINE M. SCHOLTEN 3. The Origins of Behaviorism: American Psychology, 1870-1920 JOHN M. O DONNELL 4. New York City Cartmen, 1667-1850 GRAHAM RUSSELL HODGES 5. From Equal Suffrage to Equal Rights: Alice Paul and the National Woman s Party, 1910-1928 CHRISTINE A. LUNARDINI 6. Mr. Jefferson s Army: Political and Social Reform of the Military Establishment, 1801-1809 THEODORE J. CRACKEL 7. A Peculiar People : Slave Religion and Community-Culture Among the Gullahs MARGARET WASHINGTON CREEL 8.
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Affiche du document Oliver Stone Experience

Oliver Stone Experience

Seitz Matt Zoller

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Stone himself serves as guide to this no-holds-barred retrospectivean extremely candid and comprehensive monograph of the renowned and controversial writer, director, and cinematic historian in interview form. Over the course of five years,Academy Award-winning filmmaker Oliver Stone(Midnight Express,Scarface,Platoon,JFK,Natural Born Killers,Snowden)andNew York Timesbestselling author Matt Zoller Seitz(The Wes Anderson Collection) discussed, debated, and deconstructed the arc of Stones outspoken, controversial life and career with extraordinary candor.This book collects those conversations for the first time, including anecdotes about Stones childhood, Vietnam, his struggles with post-traumatic stress disorder, and his continual struggle to reinvent himself as an artist. Their dialogue is illustrated byhundreds of never-before-seen photographs and documents from Stones personal archive, dating back to Stones birth: personal snapshots, private correspondence, annotated script pages and storyboards, behind-the-scenes photography, andproduction files from all of his films to datethrough 2016sSnowden, and including Stones epic Showtime mini-seriesUntold HIstory of the United States. Critical commentary from Seitz on each of Stones films is joined byoriginalessays from filmmaker Ramin Bahrani; writer, editor, and educator Kiese Laymon; writer and actor Jim Beaver; and film critics Walter Chaw, Michael Guarnieri, Kim Morgan, and Alissa Wilkinson. At once a complex analysis of a master director's vision and a painfully honest critical biography in widescreen technicolor,The Oliver Stone Experienceis as daring, intense, and provocative as Stone's filmsits an Oliver Stone movie about Oliver Stone, in the form of a book. Both this book and Stone's highly anticipated film,Snowden, will be released in September 2016 tocoincide with Stone's seventieth birthday(September 15, 1946). Also available from Matt Zoller Seitz:Mad Men Carousel,The Wes Anderson Collection: Bad Dads,The Wes Anderson Collection: The Grand Budapest Hotel, andThe Wes Anderson Collection.
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Affiche du document Brooklyn Before

Brooklyn Before

Larry Racioppo; Tom Robbins; Julia Van Haaften

2h08min15

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171 pages. Temps de lecture estimé 2h08min.
Before Brooklyn rose to international fame there existed a vibrant borough of neighborhoods rich with connections and traditions. During the 1970s and 1980s, photographer Larry Racioppo, a South Brooklynite with roots three generations deep, recorded Brooklyn on the cusp of being the trendy borough we know today.In Brooklyn Before, Racioppo lets us see the vitality of his native Brooklyn, stretching from historic Park Slope to the beginnings of Windsor Terrace and Sunset Park. His black and white photographs pull us deep into the community, stretching our memories back more than forty years and teasing out the long-lost recollections of life on the streets and in apartment homes. Racioppo has the fascinating ability to tell a story in one photograph and, because of his native bona fides, he depicts an intriguing set of true Brooklyn stories from the inside, in ways that an outsider simply cannot. On the pages of, Brooklyn Before the intimacy and roughness of life in a working-class community of Irish American, Italian American, and Puerto Rican families is shown with honesty and insight.Racioppo''s 128 photographs are paired with essays from journalist Tom Robbins and art critic and curator Julia Van Haaften. Taken together, the images and words of Brooklyn Before return us to pre-gentrification Brooklyn and immerse us in a community defined by work, family, and ethnic ties.
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Affiche du document Brooklyn Before

Brooklyn Before

1h19min30

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106 pages. Temps de lecture estimé 1h19min.
Before Brooklyn rose to international fame there existed a vibrant borough of neighborhoods rich with connections and traditions. During the 1970s and 1980s, photographer Larry Racioppo, a South Brooklynite with roots three generations deep, recorded Brooklyn on the cusp of being the trendy borough we know today.In Brooklyn Before, Racioppo lets us see the vitality of his native Brooklyn, stretching from historic Park Slope to the beginnings of Windsor Terrace and Sunset Park. His black and white photographs pull us deep into the community, stretching our memories back more than forty years and teasing out the long-lost recollections of life on the streets and in apartment homes. Racioppo has the fascinating ability to tell a story in one photograph and, because of his native bona fides, he depicts an intriguing set of true Brooklyn stories from the inside, in ways that an outsider simply cannot. On the pages of, Brooklyn Before the intimacy and roughness of life in a working-class community of Irish American, Italian American, and Puerto Rican families is shown with honesty and insight.Racioppo''s 128 photographs are paired with essays from journalist Tom Robbins and art critic and curator Julia Van Haaften. Taken together, the images and words of Brooklyn Before return us to pre-gentrification Brooklyn and immerse us in a community defined by work, family, and ethnic ties.
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Affiche du document Modernism a la Mode

Modernism a la Mode

M. Sheehan Elizabeth

2h12min00

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176 pages. Temps de lecture estimé 2h12min.
Modernism à la Mode argues that fashion describes why and how literary modernism matters in its own historical moment and ours. Bringing together texts, textiles, and theories of dress, Elizabeth Sheehan shows that writers, including Virginia Woolf, D.H. Lawrence, W.E.B. Du Bois, Nella Larsen, and F. Scott Fitzgerald, turned to fashion to understand what their own stylized works could do in the context of global capital, systemic violence, and social transformation. Modernists engage with fashion as a mood, a set of material objects, and a target of critique, and, in doing so, anticipate and address contemporary debates centered on the uses of literature and literary criticism amidst the supposed crisis in the humanities. A modernist affect with a purpose, no less.By engaging modernism à la mode—that is, contingently, contextually, and in light of contemporary concerns—this book offers an alternative to the often-untenable distinctions between strong or weak, suspicious or reparative, and politically activist or quietist approaches to literature, which frame current debates about literary methodology. As fashion helps us to describe what modernist texts do, it enables us to do more with modernism as a form of inquiry, perception, and critique. Fashion and modernism are interwoven forms of inquiry, perception, and critique, writes Sheehan. It is fashion that puts the work of early twentieth-century writers in conversation with twenty-first century theories of emotion, materiality, animality, beauty, and history.
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Affiche du document Bloodflowers

Bloodflowers

Bourland W. Ian Bourland

4h12min45

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337 pages. Temps de lecture estimé 4h13min.
In Bloodflowers W. Ian Bourland examines the photography of Rotimi Fani-Kayode (1955-1989), whose art is a touchstone for cultural debates surrounding questions of gender and queerness, race and diaspora, aesthetics and politics, and the enduring legacy of slavery and colonialism. Born in Nigeria, Fani-Kayode moved between artistic and cultural worlds in Washington, DC, New York, and London, where he produced the bulk of his provocative and often surrealist and homoerotic photographs of black men. Bourland situates Fani-Kayode's work in a time of global transition and traces how it exemplified and responded to profound social, cultural, and political change. In addition to his formal analyses of Fani-Kayode's portraiture, Bourland outlines the important influence that surrealism, neo-Romanticism, Yoruban religion, the AIDS crisis, experimental film, loft culture, and house and punk music had on Fani-Kayode's work. In so doing, Bourland offers new perspectives on a pivotal artist whose brief career continues to resonate with deep aesthetic and social meaning.
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Affiche du document Engine of Visualization

Engine of Visualization

Patrick Maynard

4h21min45

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349 pages. Temps de lecture estimé 4h22min.
"An extremely fascinating study, packed with insights and illumination and astute observation. It is first-rate philosophy-clearheaded, imaginative, sophisticated, and resourceful. And in its historical and technological dimensions, it connects with the 'real world' in ways that are rare in philosophical studies."-Kendall Walton, University of Michigan"For Patrick Maynard photography is in the first instance a technology for marking surfaces, and from this insight flows the most original sustained analysis and argument yet produced in the history of thinking about the camera and its work. At once analytical and historical, scientific and aesthetic, as lucid and witty as it is learned, The Engine of Visualization spells out the simplest general principles necessary for a clear understanding of what photography-also technology, image, and art-is and does. This is a signal achievement, and a simply lovely book."-Alan Trachtenberg, Yale UniversityIn the first philosophical book wholly about photography, Patrick Maynard dispels some basic, persistent confusions by treating photography as a technology-a way to enhance and filter human power. Once photography is understood as a kind of technology, Maynard argues, insights about technology may be applied to provide the general perspective on photography that has been missing.
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Affiche du document Coral Empire

Coral Empire

Elias Ann Elias

3h54min45

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313 pages. Temps de lecture estimé 3h55min.
From vividly colored underwater photographs of Australia's Great Barrier Reef to life-size dioramas re-creating coral reefs and the bounty of life they sustained, the work of early twentieth-century explorers and photographers fed the public's fascination with reefs. In the 1920s John Ernest Williamson in the Bahamas and Frank Hurley in Australia produced mass-circulated and often highly staged photographs and films that cast corals as industrious, colonizing creatures, and the undersea as a virgin, unexplored, and fantastical territory. In Coral Empire Ann Elias traces the visual and social history of Williamson and Hurley and how their modern media spectacles yoked the tropics and coral reefs to colonialism, racism, and the human domination of nature. Using the labor and knowledge of indigenous peoples while exoticizing and racializing them as inferior Others, Williamson and Hurley sustained colonial fantasies about people of color and the environment as endless resources to be plundered. As Elias demonstrates, their reckless treatment of the sea prefigured attitudes that caused the environmental crises that the oceans and reefs now face.
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Affiche du document Ocean Beings

Ocean Beings

Rebecca Hayter

1h30min00

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120 pages. Temps de lecture estimé 1h30min.
This book showcases images of Ocean Beings in Africa, specifically southern and East Africa. It reflects Africa’s coastal intangible cultural heritage, that is, the ritual practices, beliefs and symbolism of humans engaged with the ocean – as well as Africa’s coastal tangible cultural heritage (artifacts, monuments and varied forms of material culture). In sum, the ocean is our collective heritage. It has much to contribute to our understanding of balanced ecosystems, values and practices. And, as this project unfolds, it is likely to reveal new intellectual and cultural paradigms for a sustainable and equitable ocean domain.
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Affiche du document Photographic Literacy

Photographic Literacy

H. Reischl Katherine M.

2h36min00

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208 pages. Temps de lecture estimé 2h36min.
Photography, introduced to Russia in 1839, was nothing short of a sensation. Its rapid proliferation challenged the other arts, including painting and literature, as well as the very integrity of the self. If Leo Tolstoy and Fyodor Dostoevsky greeted the camera with skepticism in the nineteenth century, numerous twentieth-century authors welcomed it with a warm embrace. As Katherine M. H. Reischl shows in Photographic Literacy, authors as varied as Leonid Andreev, Ilya Ehrenburg, and Alexander Solzhenitsyn picked up the camera and reshaped not only their writing practices but also the sphere of literacy itself.For these authors, a single photograph or a photograph as illustration is never an endpoint; their authorial practices continually transform and animate the frozen moment. But just as authors used images to shape the reception of their work and selves, Russian photographers—including Sergei Prokudin-Gorsky and Alexander Rodchenko—used text to shape the reception of their visual work. From the diary to print, the literary word imbues that photographic moment with a personal life story, and frames and reframes it in the writing of history. In this primer on photographic literacy, Reischl argues for the central place that photography has played in the formation of the Russian literary imagination over the course of roughly seventy years. From image to text and back again, she traces the visual consciousness of modern Russian literature as captured through the lens of the Russian author-photographer.
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Affiche du document Nouveau Projet 07 : Printemps-été 2015

Nouveau Projet 07 : Printemps-été 2015

la rédaction

2h03min00

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164 pages. Temps de lecture estimé 2h03min.
Dans son numéro 07 (printemps-été 2015), Nouveau Projet dédie son dossier aux nouvelles frontières—tangibles et moins tangibles—du Québec moderne. De ses limites territoriales parfois contestées aux barrières culturelles et linguistiques persistantes (ou non?), en passant par le regard de migrants étrangers et bien d'autres angles, Nouveau Projet déplie le concept de frontière et ses différentes incarnations dans le Québec d’aujourd’hui.
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Affiche du document Correspondances Québec/Canada

Correspondances Québec/Canada

Guillaume Bourgault-Côté

04min30

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6 pages. Temps de lecture estimé 04min30.
Des nouvelles de Port-Menier, Oshawa, Saint Alexis-des-Monts, Baie Saint-Paul, Charlesbourg, Amqui, Asbestos et du quartier montréalais Milton Parc.
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Affiche du document Correspondances - Monde

Correspondances - Monde

Adèle Surprenant

04min30

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6 pages. Temps de lecture estimé 04min30.
Un pays qui n’existe pas au Haut-Karabakh, les déboires de Silent Sam en Caroline du Nord, la surveillance hyper sophistiquée en Chine, l’influence de la Russie en France et la révolte par la fête au Liban.
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Affiche du document Pastorales montréalaises

Pastorales montréalaises

Catherine Eve Groleau

07min30

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10 pages. Temps de lecture estimé 07min.
De part et d’autre de la clôture qui sépare Ville Mont-Royal du quartier de Parc-Extension se déploient les deux extrêmes de la vie montréalaise dont rend compte ce photoreportage de Catherine Eve Groleau et Hubert Hayaud.
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Affiche du document Refuge pour femmes brisées

Refuge pour femmes brisées

François Pesant

06min45

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9 pages. Temps de lecture estimé 7min.
Poignant photoreportage de François Pesant sur un foyer accueillant des femmes autochtones brisées par la vie.
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Affiche du document Solstice + 20

Solstice + 20

Nicolas Langelier

09min00

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12 pages. Temps de lecture estimé 09min.
Considéré dans ce texte: Ce que ça veut dire, avoir 20 ans. L’aspect parfois ridicule des élans utopistes de la jeunesse. L’ecstasy. «Madchester». La génération X. La joie collective. La musique de danse électronique comme dernier sursaut du modernisme.
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Affiche du document Nouvelles d’une ville sans sommeil

Nouvelles d’une ville sans sommeil

Brenna Daldorph

05min15

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7 pages. Temps de lecture estimé 05min.
Depuis 2013, la République centrafricaine est le théâtre d’un conflit sanglant. Des centaines de personnes sont mortes, des milliers d’autres ont été blessées. L’ouverture du premier programme universitaire de psychologie du pays marque un pas vers le traitement des traumatismes psychiques, jusqu’ici ignorés.
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Affiche du document Pelleteurs de nuages

Pelleteurs de nuages

Laurence Butet-Roch

07min30

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10 pages. Temps de lecture estimé 07min.
Un photoreportage de Laurence Butet-Roch, sur la trace des pèlerins qui cheminent de l’Estrie vers la Gaspésie.
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Affiche du document Nouveau Projet 04 : Automne-hiver 2013

Nouveau Projet 04 : Automne-hiver 2013

Daniel Weinstock

2h03min00

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164 pages. Temps de lecture estimé 2h03min.
Le trou d’cul est-il un concept pertinent pour comprendre les dérives du capitalisme contemporain? Qu’est-ce que ça signifie, en 2013 «devenir écrivain»? L’embourgeoisement des quartiers laisse-t-il uniquement derrière lui des loyers élevés et du meilleur café? Et si l’électrification des transports était une fausse bonne idée? Voilà quelques-unes des questions que soulève le quatrième numéro du magazine Nouveau Projet, un semestriel qui cherche à renouveler le débat d’idées, loin de la pensée en silo. Des drones à l’accouchement naturel, du Mali à Montréal-Nord, de la philosophie à la fiction, de l’économie à la poésie en passant par l’urbanisme et les racines canadiennes-françaises de Jack Kerouac, cette édition de Nouveau Projet offre une pause dans le récit du monde, confronte les points de vue et bouscule les habitudes de lectures. Le numéro présente également une nouvelle inédite de Louis Hamelin.
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Affiche du document Montréal-Nord, avril 2013

Montréal-Nord, avril 2013

Valérian Mazataud

03min45

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5 pages. Temps de lecture estimé 03min45.
Montréal-Nord fait jaser. Mais qu’est vraiment cet arrondissement, au-delà des idées préconçues qui le confinent à la pauvreté et à la violence ? Cinq ans après la triste « affaire Villanueva », notre photoreporteur est allé à la rencontre de ses communautés haïtienne et italienne, de son histoire et de sa culture.
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