Siegfried Kracauer--a prominent German film critic and member of Walter Benjamin's and Theodor Adorno's intellectual circle--broke new ground in exploring the connections between film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer's pioneering book, which examines German history from 1921 to 1933 in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel, has never gone out of print. Now, over half a century after its first appearance, this beautifully designed and entirely new edition reintroduces Kracauer for the twenty-first century. Film scholar Leonardo Quaresima places Kracauer in context in a critical introduction, and updates the book further with a new bibliography, index, and list of inaccuracies that crept into the first edition. This volume is a must-have for the film historian, film theorist, or cinema enthusiast.In From Caligari to Hitler, Siegfried Kracauer made a startling (and still controversial) claim: films as a popular art provide insight into the unconscious motivations and fantasies of a nation. In films of the 1920s, he traced recurring visual and narrative tropes that expressed, he argued, a fear of chaos and a desire for order, even at the price of authoritarian rule. The book has become an undisputed classic of film historiography, laying the foundations for the serious study of film.Kracauer was an important film critic in Weimar Germany. A Jew, he escaped the rise of Nazism, fleeing to Paris in 1933. Later, in anguish after Benjamin's suicide, he made his way to New York, where he remained until his death in 1966. He wrote From Caligari to Hitler while working as a "special assistant" to the curator of the Museum of Modern Art's film division. He was also on the editorial board of Bollingen Series. Despite many critiques of its attempt to link movies to historical outcomes, From Caligari to Hitler remains Kracauer's best-known and most influential book, and a seminal work in the study of film. Princeton published a revised edition of his Theory of Film: The Redemption of Physical Reality in 1997.

    Now a distinguished scholar offers the first comprehensive account of the evolutionary origins of art and storytelling. Brian Boyd explains why we tell stories, how our minds are shaped to understand them, and what difference an evolutionary understanding of human nature makes to stories we love.Art is a specifically human adaptation, Boyd argues. It offers tangible advantages for human survival, and it derives from play, itself an adaptation widespread among more intelligent animals. More particularly, our fondness for storytelling has sharpened social cognition, encouraged cooperation, and fostered creativity.After considering art as adaptation, Boyd examines Homer's "Odyssey" and Dr. Seuss's "Horton Hears a Who!" demonstrating how an evolutionary lens can offer new understanding and appreciation of specific works. What triggers our emotional engagement with these works? What patterns facilitate our responses? The need to hold an audience's attention, Boyd underscores, is the fundamental problem facing all storytellers. Enduring artists arrive at solutions that appeal to cognitive universals: an insight out of step with contemporary criticism, which obscures both the individual and universal. Published for the bicentenary of Darwin's birth and the 150th anniversary of the publication of "Origin of Species, " Boyd's study embraces a Darwinian view of human nature and art, and offers a credo for a new humanism.

    Sometimes overtly sexual, always intensely cute, the beautiful fighting girl has been both hailed as a feminist icon and condemned as a symptom of the objectification of young women in Japanese society.In Beautiful Fighting Girl, Saito Tamaki offers a far more sophisticated and convincing interpretation of this alluring and capable figure. For Saito, the beautiful fighting girl is a complex sexual fantasy that paradoxically lends reality to the fictional spaces she inhabits. As an object of desire for male otaku (obsessive fans of anime and manga), she saturates these worlds with meaning even as her fictional status demands her ceaseless proliferation and reproduction. Rejecting simplistic moralizing, Saito understands the otaku’s ability to eroticize and even fall in love with the beautiful fighting girl not as a sign of immaturity or maladaptation but as a result of a heightened sensitivity to the multiple layers of mediation and fictional context that constitute life in our hypermediated world—a logical outcome of the media they consume.Featuring extensive interviews with Japanese and American otaku, a comprehensive genealogy of the beautiful fighting girl, and an analysis of the American outsider artist Henry Darger, whose baroque imagination Saito sees as an important antecedent of otaku culture, Beautiful Fighting Girl was hugely influential when first published in Japan, and it remains a key text in the study of manga, anime, and otaku culture. Now available in English for the first time, this book will spark new debates about the role played by desire in the production and consumption of popular culture.

    It is a ‘ must’ book for those in every branch of science . . . in addition, economists, politicians, statesmen, and businessmen cannot afford to overlook cybernetics and its tremendous, even terrifying implications. "It is a beautifully written book, lucid, direct, and despite its complexity, as readable by the layman as the trained scientist." -- John B. Thurston, "The Saturday Review of Literature" Acclaimed one of the "seminal books . . . comparable in ultimate importance to . . . Galileo or Malthus or Rousseau or Mill," "Cybernetics" was judged by twenty-seven historians, economists, educators, and philosophers to be one of those books published during the "past four decades", which may have a substantial impact on public thought and action in the years ahead." -- Saturday Review

    In this classic work, now updated, the author of Culture and Imperialism reveals the hidden agendas and distortions of fact that underlie even the most "objective" coverage of the Islamic world.

    Most of all, they hate being told what to think. The more you push them, the more they resist.What people love, however, is coming up with a great idea on their own, even if it's the idea you were guiding them to have all along. Often, the only way to get someone to sign is to make them feel like they're smarter than you.That's why Oren is throwing out the old playbook on persuasion. Instead, he'll show you a new approach that works on this simple insight: Everyone trusts their own ideas. If, rather than pushing your idea on your buyer, you can guide them to discover it on their own, they'll believe it, trust it, and get excited about it. Then they'll buy in and feel good about the chance to work with you.That might sound easier said than done, but Oren has taught thousands of people how to do it with a series of simple steps that anyone can follow in any situation.And as you'll see in this book, Oren has been in a lot of different situations.He'll show you how he got a billionaire to take him seriously, how he got a venture capital firm to cough up capital, and how he made a skeptical Swiss banker see him as an expert in banking. He'll even show you how to become so compelling that buyers are even more attracted to you than to your product.These days, it's not enough to make a great pitch.To get attention, create trust, and close the deal, you need to flip the script.

    As a result of this Customer service revolution, people are being treated differently, better, and in a way like never before. This is a result of how companies and management are treating their employees and how employees are treating each other and the Customer—which ultimately permeates into people’s personal lives at home and in their communities. Can the way you run your business or treat your Customers have an effect on the world at large? John DiJulius will show you just that! Drawing on years of experience consulting with the top customer service companies around the world and in his role building his first business, John Robert’s Spa, into one of the top 20 salons in the US, DiJulius will show you exactly how to create your very own Customer service revolution and make price irrelevant.

    Storyscapes introduces "storyscaping" as a way to create immersive experiences that solve the challenge of connecting brands and consumers. This book describes a powerful new approach to advertising and marketing for the digital age that involves using stories to design emotional and transactional experiences for customers, both online and offline. Each connection inspires engagement with another, so the brand becomes part of the customer's story. Authors Gaston Legorburu and Darren McColl explain how marketers can identify and define the core target audience segment, define your brand's purpose, understand the emotional desires of your consumers, and more.•Shows how to map how the consumer engages with the category and product/service•Explains how to develop an organizing idea and creative plan for an immersive storyscape experience•Defines the role of marketing channels around the organizing idea•Establishes how technology can be applied to the experienceLearn how to measure, optimize, and evolve the customer experience through the use of strong narratives that compel consumers to buy into your brand.

    Our perpetual connectedness gives us endless opportunities to be part of the give-and-take of networking.Some worry that this new environment makes us isolated and lonely. But in Networked, Lee Rainie and Barry Wellman show how the large, loosely knit social circles of networked individuals expand opportunities for learning, problem solving, decision making, and personal interaction. The new social operating system of "networked individualism" liberates us from the restrictions of tightly knit groups; it also requires us to develop networking skills and strategies, work on maintaining ties, and balance multiple overlapping networks. Rainie and Wellman outline the "triple revolution" that has brought on this transformation: the rise of social networking, the capacity of the Internet to empower individuals, and the always-on connectivity of mobile devices. Drawing on extensive evidence, they examine how the move to networked individualism has expanded personal relationships beyond households and neighborhoods; transformed work into less hierarchical, more team-driven enterprises; encouraged individuals to create and share content; and changed the way people obtain information. Rainie and Wellman guide us through the challenges and opportunities of living in the evolving world of networked individuals.

    Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or "sound bombs") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture.Goodman concludes with speculations on the not yet heard--the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.

    The overt economic function of this appeal is to make us buy things. Its ideological function, however, is to involve us as 'individuals' in perpetuating the ideas which endorse the economic basis of our society. If it is economic conditions which make ideology necessary, it is ideology which makes those conditions seem necessary.If society is to be changed, this vicious circle of necessity and ideas must be broken. Decoding Advertisements is an attempt to undo one link in the chain which we ourselves help to forge, in our acceptance not only of the images and values of advertising, but of the 'transparent' forms and structures in which they are embodied. It provides not an answer, but a set of tools which we can use to alter our own perceptions of one of society's subtlest and most complex forms of propaganda.Other books by Judith Williamson published by Marion Boyars are Consuming Passions: the Dynamics of Popular Culture and Deadline at Dawn: Film Criticism 1980-1990.

    Book annotation not available for this title.Title: Rhetorical CriticismAuthor: Foss, Sonja K.Publisher: Waveland Pr IncPublication Date: 2008/10/31Number of Pages: 444Binding Type: PAPERBACKLibrary of Congress: 2009464644

    Speed and Politics defined the society of speed; The Aesthetics of Disappearance defines what it feels like to live in the society of speed."I always write with images," Virilio has claimed, and this statement is nowhere better illustrated than with The Aesthetics of Disappearance. Moving from the movie theater to the freeway, and from Craig Breedlove's attainment of terrifying speed in a rocket-power car to the immobility of Howard Hughes in his dark room atop the Desert Inn, Virilio himself jump cuts from such disparate reference points as Fred Astaire, Franz Liszt, and Adolf Loos to Dostoyevsky, Paul Morand, and Aldous Huxley. In its extension of the "aesthetics of disappearance" to war, film, and politics, this book paved the way to Virilio's follow-up: the celebrated study, War and Cinema.This edition features a new introduction by Jonathan Crary, one of the leading theorists of modern visual culture.Foreign Agents series. Distributed for Semiotext(e)

    Bourdieu develops a forceful critique of traditional approaches to language, including the linguistic theories of Saussure and Chomsky and the theory of speech-acts elaborated by Austin and others. He argues that language should be viewed not only as a means of communication but also as a medium of power through which individuals pursue their own interests and display their practical competence.Drawing on the concepts that are part of his distinctive theoretical approach, Bourdieu maintains that linguistic utterances or expressions can be understood as the product of the relation between a "linguistic market" and a "linguistic habitus." When individuals use language in particular ways, they deploy their accumulated linguistic resources and implicitly adapt their words to the demands of the social field or market that is their audience. Hence every linguistic interaction, however personal or insignificant it may seem, bears the traces of the social structure that it both expresses and helps to reproduce.Bourdieu's account sheds fresh light on the ways in which linguistic usage varies according to considerations such as class and gender. It also opens up a new approach to the ways in which language is used in the domain of politics. For politics is, among other things, the arena in which words are deeds and the symbolic character of power is at stake.This volume, by one of the leading social thinkers in the world today, represents a major contribution to the study of language and power. It will be of interest to students throughout the social sciences and humanities, especially in sociology, politics, anthropology, linguistics, and literature.

    In this original and provocative account of the evolutionary origins of human communication, Michael Tomasello connects the fundamentally cooperative structure of human communication (initially discovered by Paul Grice) to the especially cooperative structure of human (as opposed to other primate) social interaction. Tomasello argues that human cooperative communication rests on a psychological infrastructure of shared intentionality (joint attention, common ground), evolved originally for collaboration and culture more generally. The basic motives of the infrastructure are helping and sharing: humans communicate to request help, inform others of things helpfully, and share attitudes as a way of bonding within the cultural group. These cooperative motives each created different functional pressures for conventionalizing grammatical constructions. Requesting help in the immediate you-and-me and here-and-now, for example, required very little grammar, but informing and sharing required increasingly complex grammatical devices. Drawing on empirical research into gestural and vocal communication by great apes and human infants (much of it conducted by his own research team), Tomasello argues further that humans' cooperative communication emerged first in the natural gestures of pointing and pantomiming. Conventional communication, first gestural and then vocal, evolved only after humans already possessed these natural gestures and their shared intentionality infrastructure along with skills of cultural learning for creating and passing along jointly understood communicative conventions. Challenging the Chomskian view that linguistic knowledge is innate, Tomasello proposes instead that the most fundamental aspects of uniquely human communication are biological adaptations for cooperative social interaction in general and that the purely linguistic dimensions of human communication are cultural conventions and constructions created by and passed along within particular cultural groups.