For five decades, no American filmmaker has been as prolific -- or as paradoxical -- as Woody Allen. From Play It Again, Sam (1972) to Midnight in Paris (2011) and Blue Jasmine (2013), Allen has produced an average of one film a year; yet in many of these movies Allen reveals a progressively skeptical attitude toward both the value of art and the cultural contributions of artists.In this second edition Peter J. Bailey extends his classic study to consider Allen's work during the twenty-first century. He illuminates how the director's decision to leave New York to shoot in European cities such as London, Paris, Rome, and Barcelona has affected his craft. He also explores Allen's shift toward younger actors and interprets the evolving critical reaction to his films -- authoritatively demonstrating why the director's lifelong project of moviemaking remains endlessly deserving of careful attention.

First published to accompany a group exhibition at Piano Nobile, Aspects of Post-War Abstraction 1952-2002, this fully colour illustrated catalogue showcases seminal works of abstract art produced in Britain over the course of five decades. The publication features the work of internationally renowned artists including Terry Frost, William Scott, William Turnbull, Joe Tilson, William Crozier, Jack Smith, John Golding, William Pye, Anthony Caro, John Hoyland, Bridget Riley, and Anish Kapoor. Lavishly illustrated throughout, the catalogue presents exceptional paintings and sculptures, created by artists in dialogue with contemporaries and predecessors in Britain, and diverse international centres of abstraction. Highlighting pivotal artistic moments of transition and transformation in abstraction over the course of a half century, the catalogue presents an innovative vision of the international contribution of post-war British abstract art.

In recent years, the film industry in the People's Republic of China has found itself among the top three most prolific in the world. When the Chinese government introduced a new revenue-sharing system in 1994, the nation's total movie output skyrocketed with gross box-office receipts totaling billions of yuan. This newfound success, however, has been built on an alternately competitive and collaborative relationship between the ascendant global power of China and the popular culture juggernaut of America. In China's Encounter with Global Hollywood, Wendy Su examines the intertwining relationships among the Chinese state, global Hollywood, and the Chinese film industry while analyzing the causes and consequences of the rapid growth of the nation's domestic film production. She demonstrates how the Chinese state has consolidated power by negotiating foreign interest in the lucrative Chinese market while advancing its cultural industries. Su also reveals how mainland Chinese and Hong Kong filmmakers have navigated the often-incompatible requirements of marketization and state censorship.This timely analysis demonstrates how China has cannily used global capital to modernize its own film industry and now stands poised to step clear of Hollywood's shadow. The country's debates -- on- and offscreen -- over cultural change, market-based economic reforms, and artistic freedom illuminate China's ongoing efforts to build a modern national identity.

This is the first book devoted to the studio musicians who were central to Jamaica’s popular-music explosion. With colour portraits and interview excerpts, over 100 musical pioneers—such as Prince Buster, Robbie Shakespeare, Sly Dunbar, Lee “Scratch” Perry, and many of Bob Marley’s early musical collaborators—provide new insights into the birth of Jamaican popular music in the recording studios of Kingston, Jamaica, in the 1950s, 1960s, and 1970s. Includes a listening guide of selected songs. A wonderful read aloud for K-3rd grade, this uplifting story is recommended for nature and science centres, children’s museums, and school and public libraries to support science and social studies sections. Author lives in Massachusetts and Missouri.

This catalogue was produced to accompany the exhibition at the Osborne Samuel Gallery from 9 May to 4 June, 2016. The exhibition was curated specifically to show diversity, originality and technical expertise, and the accompanying catalogue is laid out in various sections to give an approximate chronological order to the development of printmaking in Britain in the 20th Century. A Radical View conveys the modernist thread that flows through British printmaking from the revolutionary Vorticist prints of the early 1900s, through the two wars, the inter-war period and to the beginning of the print boom of the early 1960s. These prints are radically different to their late 19th century and early 20th century predecessors.

The Dutch painter Barend Graat lived his entire life in Amsterdam and worked as an artist from 1645 until 1709. He produced drawings and paintings, well over a hundred of which are currently known. He was trained by his uncle Hand Bodt as a landscape and animal painter but developed and a genre and historic painter as well. Also he produced many portraits of wealthy Amsterdam merchants (mostly) and their families. This monograph consist of five chapters and a catalogue raisoné. Six appendices contain all relevant documents with regards to Graats life and work. The first three chapters discuss the life and work of the artist. Chapters 4 and 5 present his oeuvre and etchings. The catalogue raisoné presents all known artworks in the form of paintings, drawings and etchings. TEXT IN DUTCH

Veit Harlan (1899--1964) was one of Germany's most controversial and loathed directors. After studying with theatre and film pioneer Max Reinhardt and beginning a promising career, he became one of Joseph Goebbels's leading filmmakers under the National Socialist regime. Harlan's Jud Süss ( Jew Suss, 1940), in particular, stands as one of the most artistically distinct and morally reprehensible films produced by the Third Reich. His involvement with this movie has led to many critical questions: Was the director truly forced to make the film under penalty of death? Is anti-Semitism a theme in his other productions? Can and should his work be studied in light of the horrors of Nazism and the Holocaust?The first English-language biography of the notorious director, Veit Harlan presents an in-depth portrait of the man who is arguably the only Nazi filmmaker with a distinct authorial style and body of work. Author Frank Noack reveals that both Harlan's life and work were marked by creative vision, startling ambiguities, and deep moral flaws. His meticulously detailed study explores the director's influence on German cinema and places his work within the contexts of World War II and film history as a whole.Rivaled only by Leni Riefenstahl, Veit Harlan remains one of Germany's most infamous filmmakers, and virtually every book on Nazi cinema contains at least one chapter about Harlan or an analysis of one of his movies. This biography -- supplemented by production histories and rare interviews with actors, actresses, and cameramen -- offers the first comprehensive analysis of the director and his work and adds new perspective to the growing body of scholarship on filmmaking under the Third Reich.

In the wars in Afghanistan and Iraq, recent technological developments in music listening enabled troops to carry with them vast amounts of music and easily acquire new music, for themselves and to share with their fellow troops as well as friends and loved ones far away. This ethnographic study examines U.S. troops’ musical-listening habits during and after war, and the accompanying fear, domination, violence, isolation, pain, and loss that troops experienced. My Music, My War is a moving ethnographic account of what war was like for those most intimately involved. It shows how individuals survive in the messy webs of conflicting thoughts and emotions that are intricately part of the moment-to-moment and day-to-day phenomenon of war, and the pervasive memories in its aftermath. It gives fresh insight into musical listening as it relates to social dynamics, gender, community formation, memory, trauma, and politics.

James Bawden: Seeing the way people behave when they're around you, is it still fun being Cary Grant?Cary Grant: I don't like to disappoint people. Because he's a completely made-up character and I'm playing a part. It's a part I've been playing a long time, but no way am I really Cary Grant. A friend told me once, "I always wanted to be Cary Grant." And I said, "So did I." -- from the bookIn Conversations with Classic Film Stars, retired journalists James Bawden and Ron Miller present an astonishing collection of rare interviews with the greatest celebrities of Hollywood's golden age. Conducted over the course of more than fifty years, they recount intimate conversations with some of the most famous leading men and women of the era, including Douglas Fairbanks Jr., Joseph Cotten, Cary Grant, Gloria Swanson, Joan Fontaine, Loretta Young, Kirk Douglas, and many more.Each interview takes readers behind the scenes with some of cinema's most iconic stars. The actors convey unforgettable stories, from Maureen O'Hara discussing Charles Laughton's request that she change her last name, to Bob Hope candidly commenting on the presidential honors bestowed upon him. Humorous, enlightening, and poignant, Conversations with Classic Film Stars is essential reading for anyone who loves classic movies.

As the institutionalization of the avant-garde took place, postmoderntheory both reacted to and helped create the forces that erodedreason and even taste, labelled them quaint in the name of apostmodern theory, at the same time that mass commodity form wasinscribing exchange value on all work of the imagination. In fact, thereality is that the system, the society of domination has enclosed discoursein such a way that, coupled to new social media and electronicplatforms, all radical, all working class or under class voices are prevetted or erased, and only the most craven corporate financializedkitsch is validated. The collusion of galleries, collectors and curators,following the model of studio film and network TV, has equated popularitywith quality. The problem then is to recuperate something of thelost radical conscience of art and culture. There is now an amnesiaabout the prehistory of society, of our own psyches, and of the imagination.The colonizing of consciousness has rendered the imaginationof the west atrophied and almost inert. All art is a recreationof our own psychic formation (mimesis) as well as being shaped byits ‘otherness’, by a purposelessness. All stories are crime stories,all stories are about exile, and all stories are about homesickness.And all art contains a narrative. For only by having no purpose canthe artwork posit the direction to which society must look to createan ‘other’ or elsewhere. To retain something of that utopian promisethat is foundational in culture. The world is being dis-enchanted. TheUtopian promise is not kept.

Castles and the Anglo-Norman World draws together a series of 20 papers by 26 French and English specialists in the field of Anglo-Norman studies. It includes summaries of current knowledge and new research into important Norman castles in England and Normandy, drawing on information from recent excavations. Sections consider the evolution of Anglo-Norman castles, the architecture and archaeology of Norman monuments, Romanesque architecture and artefacts, the Bayeux Tapestry and the presentation of historic sites to the public. These studies are presented together with a consideration of the 12th century cross-Channel Norman Empire, which provides a broader context. This work is the result of a conference held at Norwich Castle in 2012, which was part of a collaboration between professionals in the fields of archaeology, architecture, museums and heritage, under the banner of the Norman Connections Project.

John Raimondi (b. 1948) is a contemporary American artist whose more than 100 monumental works of outdoor sculpture have earned him international distinction and acclaim. During his forty-five year career, he has experimented with a wide variety of styles, ranging from the simplicity of strong, angular lines and planes to the more graceful, curvilinear renditions of the natural world and human figure, to improvisational elements in his dignified series on American jazz greats and Indian chiefs. A constant in every style and approach in Raimondi's sculpture is his classical sense of design and craftsmanship along with his keen appreciation for scale and a subject's social meaning. His sculptural works are also distinctive in how they are made not cast in bronze but formed, rolled, welded, and fabricated into shape from large sheets of bronze or Cor-Ten steel. The results are unforgettable pieces that are monumental yet elegant, solid yet ethereal.Behind most of Raimondi's sculptural pieces are his conceptual drawings, which are works of art in their own right. These drawings—based on astute observations in the field and an immersion into scholarly readings—become fundamental, singular translations of the artist's feel for and understanding of a subject. The drawings are then rendered into cardboard models that become templates for larger-scale models for the eventual work of art. Raimondi then makes new drawings of the completed sculpture in order to provide a sense of closure and complete the artistic process.John Raimondi: Drawing to Sculpture is a seminal new book that presents not only an unprecedented number of Raimondi's sculptures and drawings, but also a sense of his ever-evolving career and creative approach to making unforgettable art. The book also complements a forty-five-year retrospective of Raimondi's work at the Boca Raton Museum of Art.

Sensory Systems documents an engaging group exhibition presented at the Grundy Art Gallery, Blackpool, in autumn 2015. The exhibition is the first in a new annual programme by the gallery each autumn that will revolve around the theme of light, and timed to coincide with the famous Blackpool Illuminations – a six-mile-long outdoor display of lights that has drawn many visitors to the town each year since it was first switched on in 1912. The exhibition and publication feature works by internationally acclaimed artists interested in the technology and science of light, and how this can be used to affect our perceptual experiences of space. Whether through sculpture, projection or immersive architecture, eachartwork presented in the exhibition invited a dialogue with the viewer, utilising colour, pattern, movement and other factors to evoke a variety of spatial and sensory experiences. The selection of prominent figures working internationally today who feature in the exhibition and publication are: Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross. Among these, Anthony McCall was one ofthe early pioneers in the field, alongside figures such as James Turrell, Mary Corse, Robert Irwin, Carlos Cruz-Diez and Dan Flavin. McCall, who moved to New York from England in the early 1970s, was highly influential with his ‘solid light’ installations. In this exhibition and publication, McCall presents You and I, Horizontal (2005), a slowly evolving, curving sculpture made of light. The publication includes a foreword by Richard Parry, Curator at the Grundy Art Gallery, an essay by Dr. Luke Skrebowski, Director of Studies in History of Art at Churchill College at the University of Cambridge, and has been designed by Joe Gilmore / Qubik. The project has been supported by Blackpool Council, Coastal Communities Fund, Arts Council England, and is co-published by the Grundy Art Gallery and Anomie Publishing. The publication is distributed internationally by Casemate Art.

Now in its fifteenth year of publication, Ceramics in America is considered the journal of record for historical ceramics scholarship in the American context and is intended for collectors, historical archaeologists, curators, decorative arts students, social historians, and contemporary potters.

Nominated for the 2016 IPPY Award in both the Photography and Current Events categories.Memento Mori: Testament to Life is a poignant tribute to the victims of Colombia’s armed conflict that has claimed more than 250,000 people during the last fifty years. The book is presented as four bodies of photographic work in a two-volume, bi-lingual edition: English and Spanish. The first volume includes hauntingly beautiful images of Diettes’s photographic work on display at museums and at memorials in areas where the victims “disappeared,” a moving statement by the artist herself, an essay by Mexican scholar Ileana Diéguez, and an extensive conversation with the artist by Anne Wilkes Tucker, former Curator of Photography at the Museum of Fine Arts, Houston.The second volume showcases the plates from three photographic series: Sudarios (Shrouds), photographs printed on linen of women who have witnessed atrocities committed against their loved ones, Río Abajo (Drifting Away), images of articles of clothing of “the disappeared,” photographed in water and embedded in glass, and Relicarios (Reliquaries), three-dimensional works of polymer containing mementos and personal effects of the victims. At once majestic, accessible, and deeply moving, this book makes a significant contribution not only to documentary art, contemporary Latin American studies, and social anthropology but also to those wanting to understand, at a very basic level, the human cost of terrorism. As Anne Wilkes Tucker writes, Erika Diettes’s unforgettable book speaks “of universal loss from violent death.” And it is through her art that we learn how to grieve from such loss.

Rare Light is a collection of essays exploring little known facets of the life and career of a major American Impressionist painter. J. Alden Weir (1852–1919) painted some of his finest canvases while living in Windham in eastern Connecticut’s picturesque “Quiet Corner,” and this rural location played a crucial role in Weir’s artistic development. The four essays that comprise this book offer in-depth contextual information about the architecture, culture, environment, and history of the region, allowing us to see Connecticut as it appeared in Weir’s lifetime. Interweaving photos, paintings, and letters—some never before published—Rare Light documents the artist’s sense of Windham as a place for social gatherings, physical and psychic rest, and art making. Taken together, the essays celebrate the interconnectedness of art, architecture, family, history, and place. Includes essays by Charles Burlingham Jr., Rachel Carley, Anne E. Dawson, and Jamie Eves.