The definitive art book for the remastered Spyro Reignited Trilogy, for fans young and old. In 2018 Toys for Bob Studios thrilled fans world wide by releasing Spyro Reignited Trilogy, a faithful remaster encompassing all three titles from the beloved Spyro trilogy introduced in 1998. The Art of Spyro is a meticulously crafted compendium filled with in-depth behind-the-scenes content, insightful quotes from top illustrators in the industry, anecdotes from the game developers, and a dazzling assortment of incredible concept art, some of which has never been seen by the public. It is a must-have for art lovers, games, fans... and the fun-loving adventurer in all of us.

This is Vol. 2 of The Interviews, a sequel to Every Step a Struggle. While Vol. 1 recalled the performers who fought to give black artists a voice and a presence, this new ground-breaking book focuses on the personalities who replaced the pioneers and refused to abide by Jim Crow traditions. Presented against a detailed background of the revolutionary post-World War II era up to the mid-1970s, the individual views of Mae Mercer, Brock Peters, Jim Brown, Ivan Dixon, James Whitmore, William Marshall and Ruby Dee in heretofore unpublished conversations from the past reveal just how tumultuous and extraordinary the technological, political, and social changes were for the artists and the film industry. Using extensive documentation, hundreds of films, and fascinating private recollections, Dr. Manchel puts a human face both on popular culture and race relations. "A worthy successor to Every Step a Struggle, Exits and Entrances combines superb historical research and astute analytical insights with the inimitable voices of the next generation of African-American artists. This book ensures that the contributions to American cinema of these determined and courageous rebels will never be forgotten. The film studies community owes a debt of gratitude to Manchel for this, the finest achieve- ment of his illustrious career. Exits and Entrances should be required reading for everyone interested in the politics of race in America, film studies, and African-American studies. It belongs in every research library. Denise Youngblood, University of Vermont, author of Cinematic Cold War. "Using the method of oral history and the mature thinking of a senior scholar, Exits and Entrances enhances our understanding of the difficult slog to create a truthful, "round" image of African-Americans in U.S. commercial films. This collection is a gold mine of information for future research and should be in all libraries which value film research." Peter C. Rollins, Emeritus EIC, Film & History: An Interdisciplinary Journal

How is affective experience produced in the cinema? And how can we write a history of this experience? By asking these questions, this study by Hauke Lehmann aims at rethinking our conception of a critical period in US film history - the New Hollywood: as a moment of crisis that can neither be reduced to economic processes of adaption nor to a collection of masterpieces. Rather, the fine-grained analysis of core films reveals the power of cinematic images to affect their audiences - to confront them with the new. The films of the New Hollywood redefine the divisions of the classical genre system in a radical way and thereby transform the way spectators are addressed affectively in the cinema. The study describes a complex interplay between three modes of affectivity: suspense, paranoia, and melancholy. All three, each in their own way, implicate spectators in the deep-seated contradictions of their own feelings and their ways of being in the world: their relations to history, to society, and to cultural fantasy. On this basis, Affect Poetics of the New Hollywood projects an original conception of film history: as an affective history which can be re-written up to the present day.

In Luchino Visconti and the Fabric of Cinema, Joe McElhaney situates Visconti's films as privileged and deeply expressive instances of a trope that McElhaney identifies as the ""cinema of fabric"": a reoccurrence in film in which textiles-clothing, curtains, tablecloths, bedsheets-determine the filming process. An Italian neorealist, Visconti emerges out of a movement immediately following WWII wherein fabric assumes crucial functions, yet Visconti's use of fabric surpasses his colleagues in many ways, including its fluid, multifaceted articulations of space and time. Visconti's homosexuality is central to this theory in that it assumes metaphoric potential in addressing ""forbidden"" sexual desires that are made visible in the films. Visconti's cinema of fabric gives voice to desires not simply for human bodies draped in fabric but also for entire environments, a world of the senses in which fabric becomes a crucial method for giving form to such desires. McElhaney examines Visconti's neorealist origins in Ossessione, La terra trema, and Rocco and His Brothers, particularly through fabric's function within literary realism and naturalism. Neorealist revisionism through the extravagant drapings of the diva film is examined in Bellissima and Senso whereas White Nights and The Stranger are examined for the theatricalizing through fabric of their literary sources. Visconti's interest in German culture vis-?a-vis The Damned, Death in Venice, and Ludwig, is articulated through a complex intertwining of fabric, aesthetics, politics, and transgressive sexual desire. Finally, Visconti's final two films, Conversation Piece and The Innocent, assess through fabric both the origins of Italian fascism and the political tensions contemporaneous with the films' productions. Fabric in Visconti is often tied to the aesthetic impulse itself in a world of visionaries attempting to dominate their surrounding environments and where a single piece of fabric may come to represent the raw material for creation. This book will tantalize any reader with a keen eye and strong interest in film and queer studies.

"Mary Reid Kelley" celebrates the first museum exhibition devoted to the finely crafted and researched costumes, objects, and drawings that Mary Reid Kelley creates for her visually and intellectually stimulating videos. An essay by curator Daniel Belasco analyzes the sources and significance of the working objects in how they promote the unreality effect of Mary Reid Kelley s videos, which combine both the analog and digital and the personal and historical. A conversation between Corinna Ripps Schaming and Mary Reid Kelley and her long-time collaborator Patrick Kelley reveals insights into their working process. For the first time, the full range of the artist s costumes, props, drawings, furniture, and accessories are photographed and presented as unique works of art."

This volume presents an original framework for the study of video games that use visual materials and narrative conventions from ancient Greece and Rome. It focuses on the culturally rich continuum of ancient Greek and Roman games, treating them not just as representations, but as functional interactive products that require the player to interpret, communicate with and alter them. Tracking the movement of such concepts across different media, the study builds an interconnected picture of antiquity in video games within a wider transmedial environment. Ancient Greece and Rome in Videogames presents a wide array of games from several different genres, ranging from the blood-spilling violence of god-killing and gladiatorial combat to meticulous strategizing over virtual Roman Empires and often bizarre adventures in pseudo-ancient places. Readers encounter instances in which players become intimately engaged with the "epic mode" of spectacle in God of War, moments of negotiation with colonised lands in Rome: Total War and Imperium Romanum, and multi-layered narratives rich with ancient traditions in games such as Eleusis and Salammbo. The case study approach draws on close analysis of outstanding examples of the genre to uncover how both representation and gameplay function in such "ancient games".

Throughout the mid-1970s until the early 1990s, video art as vehicles for social, cultural, and political analysis were prominent within global museum based contemporary art exhibitions. For many, video art during this period stood for contemporary art. Yet from the outset, video art's incorporation into art museums has brought about specific problems in relation to its acquisition and exhibition. This book analyses, discusses, and evaluates the problematic nature and form of video art within four major contemporary art museums--the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London, and the Art Gallery of New South Wales (AGNSW) in Sydney. In this book, the author discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of video art and contends that analogue video art would be instrumental in the evolution of the contemporary art museum. By addressing some of the problems that analogue video art presented to those museums under discussion, this study penetratingly reveals how video art challenged institutional structures and had demanded more flexible viewing environments from those structures. It first defines the classical museum structure established by the Louvre Museum in Paris during the 19th century and then examines the transformation from this museum structure to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA was the first major museum to exhibit analogue video art in a concerted fashion, and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. In this book, MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery, and the AGNSW in order to define a lineage of development in relation to video art. Extremely well researched and well written, this book covers an exhaustive, substantive, and relevant range of issues. These issues include video art (its origin, significance, significant movements, institutional challenges, and relationship to television), the establishment of the museum (its patronage and curatorial strategy) from the Louvre to MoMA, the relationship of MoMA to the Metropolitan Museum of Art, a comparative analysis of three museums in three countries on three continents, a close examination of video art exhibition, a closer look at three seminal video artists, and, finally, a critical overview of video art and its future exhibition. This unique book also covers an important period in the genesis of video art and its presentation within significant national and global cultural institutions. Those cultural institutions not only influence a meaningful part of the cultural life of four unique countries but also represent the cultural forces emerging in capital cities on three continents. By itself, this sort of geographic and institutional breadth challenges any previous study on the subject. This book successfully provides a historical explanation for the museum/gallery's relationship to video art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the book contains a theoretical discussion of the problems related to video art imagery with the period of High Modernism; it examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct major contemporary art institutions. The Problematic of Video Art in the Museum, 1968-1990 is an important book for all art history and museum collections.

Against Ambience diagnoses - in order to cure - the art world's recent turn toward ambience. Over the course of three short months - June to September, 2013 - the four most prestigious museums in New York indulged the ambience of sound and light: James Turrell at the Guggenheim, Soundings at MoMA, Robert Irwin at the Whitney, and Janet Cardiff at the Met. In addition, two notable shows at smaller galleries indicate that this is not simply a major-donor movement. Collectively, these shows constitute a proposal about what we wanted from art in 2013. While we're in the soft embrace of light, the NSA and Facebook are still collecting our data, the money in our bank accounts is still being used to fund who-knows-what without our knowledge or consent, the government we elected is still imprisoning and targeting people with whom we have no beef. We deserve an art that is the equal of our information age. Not one that parrots the age's self-assertions or modes of dissemination, but an art that is hyper-aware, vigilant, active, engaged, and informed. We are now one hundred years clear of Duchamp's first readymades. So why should we find ourselves so thoroughly in thrall to ambience? Against Ambience argues for an art that acknowledges its own methods and intentions; its own position in the structures of cultural power and persuasion. Rather than the warm glow of light or the soothing wash of sound, Against Ambience proposes an art that cracks the surface of our prevailing patterns of encounter, initiating productive disruptions and deconstructions.