Specifically, it explores the structure of feeling that is emerging today in tandem with new digital technologies, together with economic globalization and the financialization of more and more human activities. The 20th century was the age of film and television; these dominant media shaped and reflected our cultural sensibilities. In the 21st century, new digital media help to shape and reflect new forms of sensibility. Movies (moving image and sound works) continue to be made, but they have adopted new formal strategies, they are viewed under massively changed conditions, and they address their spectators in different ways than was the case in the 20th century. The book traces these changes, focusing on four recent moving-image works: Nick Hooker's music video for Grace Jones' song Corporate Cannibal; Olivier Assayas' movie Boarding Gate, starring Asia Argento; Richard Kelly's movie Southland Tales, featuring Justin Timberlake, Dwayne Johnson, and other pop culture celebrities; and Mark Neveldine and Brian Taylor's Gamer.

    To reflect on method implies for Agamben an archaeological vigilance: a persistent form of thinking in order to expose, examine, and elaborate what is obscure, unanalyzed, even unsaid, in an author's thought. To be archaeologically vigilant, then, is to return to, even invent, a method attuned to a "world supported by a thick weave of resemblances and sympathies, analogies and correspondences." Collecting a wide range of authors and topics in a slim but richly argued volume, Agamben enacts the search to create a science of signatures that exceeds the attempts of semiology and hermeneutics to determine the pure and unmarked signs that signify univocally, neutrally, and eternally. Three conceptual figures organize Agamben's argument and the advent of his new method: the paradigm, the signature, and archaeology. Each chapter is devoted to an investigation of one of these concepts and Agamben carefully constructs its genealogy transhistorically and from an interdisciplinary perspective. And at each moment of the text, Agamben pays tribute to Michel Foucault, whose methods he rethinks and effectively uses to reformulate the logic of the concepts he isolates. The Signature of All Things reveals once again why Agamben is one of the most innovative thinkers writing today.

    When his family is murdered, he is thrust into a world that isn't as black and white as he has always believed. If he is to take his rightful place on his father's throne he must face the dangers of political ambition and a kingdom gripped by the realities of war.

    Based on the 1999 Walter Neurath Memorial Lecture, this book uses the work of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can never be simply collapsed into the physicality of their support.

    Some of the country s finest theatre and film talents all at key stages in their careers participated in its creation, but the journey was anything but smooth. Among other things, it involved bumping off disco killers and talking gorillas, finding air-conditioned rooms for dead rats, persuading a respected actor to stop sulking and eat his meals, and resisting the temptation to introduce logic into a madcap script. In the end, it was worth it.Kundan Shah s Jaane Bhi Do Yaaro is now a byword for the sort of absurdist, satirical humour that Hindi cinema just hasn t seen enough of. This is the story of how it came to be despite incredible odds and what it might have been. Jai Arjun Singh s engaging take on the making of the film and its cult following is as entertaining as the film itself.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    Tally Jr. explores differing aspects of the spatial in literary studies today, providing:An overview of the spatial turn across literary theory, from historicism and postmodernism to postcolonialism and globalization Introductions to the major theorists of spatiality, including Michel Foucault, David Harvey, Edward Soja, Erich Auerbach, Georg Lukacs, and Fredric Jameson Analysis of critical perspectives on spatiality, such as the writer as map-maker, literature of the city and urban space, and the concepts of literary geography, cartographics and geocriticism.This clear and engaging study presents readers with a thought provoking and illuminating guide to the literature and criticism of 'space'.

    The script for his first movie took him four years to complete: My Best Friend’s Birthday, a seventy-minute film in which he both acted and directed. The script for his second film, Reservoir Dogs (1992), took him just under four weeks to complete. When it debuted, he was immediately hailed as one of the most exciting new directors in the industry. Known for his highly cinematic visual style, out-of-sequence storytelling, and grandiose violence, Tarantino’s films have provoked both praise and criticism over the course of his career. They’ve also won him a host of awards—including Oscars, Golden Globes, and BAFTA awards—usually for his original screenplays. His oeuvre includes the cult classic Pulp Fiction, bloody revenge saga Kill Bill Vol. 1 and Vol. 2, and historical epics Inglorious Basterds, Django Unchained, and The Hateful Eight . This stunning retrospective catalogs each of Quentin Tarantino’s movies in detail, from My Best Friend’s Birthday to The Hateful Eight. The book is a tribute to a unique directing and writing talent, celebrating an uncompromising, passionate director’s enthralling career at the heart of cult filmmaking.

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    

    The stars may collude to bring you down. But God has a plan, always the best one for you. You need to trust it, live it and enjoy it.Amrit, an accomplished doctor with a fetching personality, blames himself for his wife Niharika’s death. He is stuck in his past.Arpita, a simple girl, fighting many complexes, cheated in her marriage, is not ready to trust anyone in life.The Stars, ever conspiring, bring them together. But can they be together for a lifetime? Is it facile for Amrit to let go off past? Is it possible for Arpita to trust someone again? Will Arpita ever be able to see herself through Amrit’s eyes? How do the stars conspire bring Niharika into their lives?Does the destiny unite them finally or push them away forever?

    Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Still Life With Woodpecker, Villa Incognito, Fierce Invalids Home From Hot Climates, Jitterbug Perfume, Even Cowgirls Get the Blues, Skinny Legs and All, Another Roadside Attraction, Half Asleep in Frog Pajamas. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: Still Life With Woodpecker (1980) is the third novel by Tom Robbins, concerning the love affair between an environmentalist princess and an outlaw. As with most of Robbins' books, it encompasses a broad range of topics, from aliens and redheads to consumerism, the building of bombs, romance, royalty, the moon, and a pack of Camels. The novel continuously addresses the question of how to make love stay. The story is sometimes called a post-modern fairy tale. The book begins in "the final quarter of the twentieth century," at a year never specified, presumably in the early 1980s. It revolves around a family of deposed European royalty living in a small house in the suburbs outside of Seattle, under the protection of the CIA. They consist of: the father, King Max, a former gambler and poker player whose prosthetic heart valve makes a loud scraping noise when he gets excited; the mother, Queen Tilli, an opera-lover with a strong foreign accent and a fondness for saying "Oh, oh, spaghetti-o"; Gulietta, the non-English-speaking maid (and, as it turns out, Max's half-sister) and the daughter, Leigh-Cheri, a redheaded vegetarian liberal princess and former cheerleader, having pulled out of classes after being asked to resign from the cheer squad after having a miscarriage while cheering at a football game. Leigh-Cheri proclaims herself celibate, withdraws from public life and cloisters herself in her room, only to emerge to ask her parents for permission to go to the Care Fest, a lib...More: http: //booksllc.net/?id=217300

    Taken from poverty at the extremity of Tarlonin's New Dominions, she is brought to the centre of the Empire to become a mage.[Spoiler (maybe): Weaves of Empire is set in the same universe as The Stork Tower. The connections will eventually become more apparent; the intervening years will be fleshed out in other series (not yet written).]

    In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.

    To appreciate this, though it is necessary to look at what happens on the screen without bringing preconceptions to bear.