With a Foreword by Roger W. Moss Although Clay Lancaster (1917-2000) established himself as an expert on New York brownstones and California bungalows, the nationally known architectural historian also spent four decades photographing architecture in his native Kentucky. Lancaster had no flash bulb, no tripod, no close-up or wide-angle lenses, but he had a good eye and a love for his subject, producing photos that are works of art as well as documents of local history. Many of the buildings he photographed have been demolished, while others have been restored. Displaying over 150 starkly beautiful black-and-white images alongside James D. Birchfield's insightful commentary, Clay Lancaster's Kentucky not only reveals the architectural treasures found in the Bluegrass State but also demonstrates the vision of an artist.

The San Vincenzo Project, focused upon the Benedictine monastery of San Vincenzo al Volturno, in central Italy, was launched in 1980. In addition to developing the archaeological potential of the well-known ninth-century painted crypt of San Lorenzo and to defining the general character of the early medieval monastery, a major aim of the project was through a combination of survey and small-scale excavation within the territory to define the relationship between the early medieval monastery and its dependent communities. This volume summarizes the archaeology of the territory, placing emphasis upon the long settlement history of which San Vincenzo al Volturno was a part, as well as the dependent communities of the Benedictine monastery identified during the fieldwork. The volume includes an overview of the 1980-1 field survey (including investigations of the castelli in the upper Volturno valley and the survey and excavations on Monte Mare); the principal results of the extensive excavations on the east bank of the river, including the Samnite cemetery and vicus, the Samnite and Roman settlement, the early medieval industrial complex and borgo, as well as the twelfth-century monastery; reports on excavations at two hilltop sites, Colle Castellano and Colle Sant'Angelo. In addition, there are essays on the San Vincenzo community in Capua; on the upper Volturno valley in Roman times; a reconsideration of late antique San Vincenzo and an assessment of the upper Volturno valley in the early Middle Ages.

Film noir--a cycle of American films from the 1940s and '50s--is characterized not only by a constant opposition of light and shadow and a disruptive compositional balance of frames and scenes, but also by dark, foreboding characters and plots and an overriding sense of alienation and moral ambiguity. Noir films reflect the sense of loss, fragmentation, and nihilism at the heart of the human condition in the twentieth century. Although the classic film noir period ended in the late 1950s, its impact on more films has been profound. While typically not black and white, these new films incorporate the noir sensibility of alienation, pessimism, moral ambivalence, and disorientation. This sensibility is obvious in films such as Blade Runner, Reservoir Dogs, Chinatown, and Memento. Until now, little scholarly attention has been paid to the unique philosophical conventions of the widely popular neo-noir genre. In The Philosophy of Neo-Noir, editor Mark T. Conard and other contributors explore the philosophical foundations of neo-noir, using the films to discuss and explain traditional philosophical ideas as well. The themes and topics covered include justice and moral corruption; problems of memory and identity; human nature, space, time, and subjectivity; crime and punishment; pain and redemption; and spiritual transcendence. Conard argues that neo-noir films have benefited as censorship has relaxed, giving current filmmakers a rich noir tradition from which to draw.

Two-time Academy Award winner Sir David Lean (1908-1991) was a prominent director in the world of twentieth-century cinema, responsible for such classics as The Bridge on the River Kwai, Doctor Zhivago, and Lawrence of Arabia. British-born Lean asserted himself in Hollywood as a major artistic voice with his epic storytelling and panoramic depictions of history, but he was also a highly skilled film editor in Great Britain before he became a director who brought an art-house sensibility to big market films. Lean's approach to filmmaking was far different from that of his contemporaries. He carefully chose his projects and, as a result, directed only sixteen films in a span of more than forty years. Those films, however, are some of the landmarks of motion-picture history. In addition to his epics, Lean also made adaptations of well-known novels, including Great Expectations, Oliver Twist, and A Passage to India, and plays, including Brief Encounter. Using elements of both biography and film criticism, author Gene D. Phillips examines the screenplays and production histories central to Lean's body of work and interviews actors and other directors who worked with Lean. Phillips also explores Lean's lesser-studied films, such as The Passionate Friends, unearthing new details. This in-depth examination of Lean in a cultural, historic, and cinematic context makes Beyond the Epic truly unique -- a vital assessment of a great director's artistic process and his place in an evolving film industry.

In the wake of the blockbuster television success of "Dancing with the Stars," competitive ballroom dance has become a subject of new fascination-and renewed scrutiny. Known by its practitioners as DanceSport, ballroom is a significant dance form and a fascinating cultural phenomenon. In this first in-depth study of the sport, dancer and dance historian Juliet McMains explores the "Glamour Machine" that drives the thriving industry, delving into both the pleasures and perils of its seductions. She further explores the broader social issues invoked in American DanceSport: representation of "Latin," economics that often foster inequality, and issues of identity, including gender, race, class, and sexuality. Putting ballroom dance in the larger contexts of culture and history, Glamour Addiction makes an important contribution to dance studies, while giving new and veteran enthusiasts a unique and unprecedented glimpse behind the scenes.

In this exploration of the funk groove and its unique sounds, author Anne Danielsen takes an in-depth look at this under-explored genre. Danielsen concentrates on the golden age of funk in the late 1960s and the 1970s, focusing on two of the era's artists who made a substantial impact on the landscape of popular music: James Brown and George Clinton/Parliament. Aiming to understand funk not only as objectified musical meaning but also as lived experience, she begins with the musical events themselves and draws on her experiences as both a fan and a scholar to capture how their particular organization creates the funk listener's pleasure. Danielsen further examines issues surrounding race in the construction and consumption of this music, focusing her study with how white listeners responded to funk in the 1970s, and arguing that African American music has remained a means of catharsis and of dealing with pleasures of the body. Funk's crossover to international success among listeners of pop and rock music affected both the music itself and audiences' understanding of it. Presence and Pleasure shows us how.

As cartoons and animated features became an increasingly important part of the entertainment business, the production of cartoons industrialized to meet growing demands for the new global media. Artists adopted traditional union models to protect their jobs and working conditions, and a unique set of unions was born. Drawing the Line is the first labor history of an industry whose principle figures--Walt Disney, Chuck Jones, and Max Fleischer--helped define American entertainment. Author Tom Sito, Disney animator and former president of the Hollywood Animation Guild, draws on oral histories, archival information, and firsthand knowledge of the animation process to create an insider's history of a colorful set of labor unions. Sito describes the history and fiery personalities behind the formation of the Screen Cartoonists Union, the strikes and walk-outs, the effects of Hollywood blacklisting, and the battles at the bargaining tables. He closes with a look at the changing nature of animation and the way in which current giants Disney and Dreamworks are again reshaping the relationship between studios and animators. Well illustrated with never-before-seen images from the backstage of classic Hollywood, Drawing the Line will change basic assumptions about animation history and its place in the story of American labor.

During her twelve years with Ballet Society and the New York City Ballet, Barbara Milberg worked under the direction of George Balanchine. She rose from corps de ballet to soloist, danced leading roles in Swan Lake and Illuminations, and performed in celebrated world premieres. In this observant and poignant memoir, she shares her recollections of Balanchine, his craft and his values, and lends insight into surprising aspects of his personality. Fisher gives readers a rare glimpse inside Balanchine's artistry, including vivid accounts of the makings of such important ballets as Schoenberg's Opus 34, AGON, and the world-famous Nutcracker. Told through the eyes of a young dancer in what seemed a truly magical place and time, In Balanchine's Company is ideal for ballet fans young and old. Rich in anecdote, insight, and humor, it offers a unique perspective on one of the twentieth century's cultural giants.

This edited volume of forty-four papers on terracottas opens with a section on New Research , followed by five geographical sections on: Etruria; Umbria and Abruzzo; The Faliscans, Rome and Latium; Campania and Magna Graecia; and Sicily. The terracottas in question are the various parts of roofing systems used by the ancient Italians Italic, Etruscan and colonial Greek and cover both domestic and temple architecture. Thirty-three papers are in Italian, nine in English and two in German.

Britain is widely considered the cradle of independent music culture. Bands like Radiohead and Belle and Sebastian, which epitomize indie music's sounds and attitudes, have spawned worldwide fanbases. This in-depth study of the British independent music scene explores how the behavior of fans, artists, and music industry professionals produce a community with a specific aesthetic based on moral values. Author Wendy Fonarow, a scholar with years of experience in the various sectors of the indie music scene, examines the indie music "gig" as a ritual in which all participants are actively involved. This ritual allows participants to play with cultural norms regarding appropriate behavior, especially in the domains of sex and creativity. Her investigation uncovers the motivations of audience members when they first enter the community and how their positions change over time so that the gig functions for most members as a rite of passage. Empire of Dirt sheds new light on music, gender roles, emotion, subjectivity, embodiment, and authenticity.

Musical Childhoods and the Cultures of Youth is an immensely rich contribution to childhood studies and shows how children are socialized into the musical life of their communities. Children have rarely been central to musicological or anthropological studies, and childhood was once dismissed as too early in the human developmental process to be of significant interest. In a variety of historical, social, and cultural frameworks, these 10 essays address subjects as diverse as choirboys in early modern Seville, the griot culture of West Africa, and Jewish youth at summer camp. The essays reveal childhood as a time all its own, a time when individual identities are forged through music, and when voices emerge in ways that are as personal as they are communally bound and musically varied. This is an important book for music scholars, educators, cultural and social historians, and for scholars across the social sciences, as well as anyone interested in childhood. It sheds new light on children and youth cultures as alternately dependent upon and independent from the "grown-up" musical worlds that surround them.

A Game for Dancers examines the difficulties American modern dancers faced as the Cold War took hold and the genre became institutionalized after its pioneering phase. It draws on the sociology of Pierre Bourdieu to explore the interconnections between art and politics while paying close attention to modern dance's ambivalent relationship to the market. At the heart of the book is an inquiry into modernism itself, and how dancers struggled with modernist ideas of abstraction and autonomy while rarely questioning them. Crucial, too, is the issue of embodiment, which appeared to answer modernist skepticism of representation and aid modern dance's elusive pursuit of independence. Subjects include modernist dance theory, the emergence of new constituencies including African-American choreographers, and the work of Merce Cunningham and Alwin Nikolais, whose objectivism was declared a new modern dance vanguard in the 1950s.

This long-awaited publication elucidates a remarkable monument, now preserved in situ beside the Tower of London. Excavations at Tower Hill in 1979 uncovered substantial reamins of the medieval postern gate at the junction of the City's defensive wall and the moat of the Tower of London. The postern gate was constructed between 1297 and 1308, towards the close of the reign of Edward I. It formed a defensible terminus to the City wall and a minor gateway suitable for pedestrian traffic. The base of a rectangular tower survived on the south side of the gate passage, along with a staircase turret. The structure had a cellar and a ground floor chamber with a suspended timber floor, the superstructure surviving to the level of the arrow loops. The tower must have had at least one upper floor. These remarkable remains survived because of a dramatic landslip in 1431 or 1440, when the southern part of the structure slipped at least three metres down the side of the moat. The northern part of the gate probably remained standing whilst the underpinned southern tower provided the foundation for a rebuilt postern gate. Cartographic evidence shows that a postern gate stood on the site until at least the 17th century. Thematic aspects include documentary evidence that the gate was administered by the City rather than the nearby royal castle, the question of whether there was a Roman gate in the adjascent city wall, the appearance of the gateway and the character of the Tower Hill area in the 16th and 17th centuries.

This handsome volume presents 161 pairs of matching before and after photographs of Pittsburgh. A treasury of images for those who remember the old Pittsburgh, those who are curious about its past, and anyone interested in Pittsburgh's fascinating evolution from \u201csmoky city\u201d to the city it is today.

America was once full of small, lively places that produced things. But then factories closed, mills shut down, mines quit hiring. Steelworkers, textile workers, automakers, and coal miners were laid off, phased out, downsized, outsourced, given the axe, or otherwise told to get lost. Once proud towns gave way to vacant storefronts, empty streets, and wounded people struggling with anger and bitterness. Through words and pictures After the Smoke Clears takes readers into the communities of Homestead and Braddock, Pennsylvania; Lewiston, Maine; Matewan, West Virginia; and Flint, Michigan. Each of these company towns had staked its fortune to a single industry. And each has suffered for it. Steve Mellon focuses on the human face of that suffering. Again and again, men and women fighting to make ends meet freely admit that the blows to their sense of self and sense of community were more hurtful than the economic damage caused by the departure of the mill or mine or plant. As he explores the complex relationship between work, loss, and identity, Mellon offers thought-provoking reflections on the hidden costs of economic policies and business decisions made by multinational corporations to abandon the small towns that made them strong.

In Tunnels Portuguese photographer Andri Principe explores the boundaries of knowing oneself and others through themes such as isolation and absence. By photographing people from behind, while hiding or through windows, Principe captures images that deal with issues such as loneliness and the difficulty of communicating, while also reflecting on the limits of the photographic medium.