Self-taught photographer Hugh Mangum was born in 1877 in Durham, North Carolina, as its burgeoning tobacco economy put the frontier-like boomtown on the map. As an itinerant portraitist working primarily in North Carolina and Virginia during the rise of Jim Crow, Mangum welcomed into his temporary studios a clientele that was both racially and economically diverse. After his death in 1922, his glass plate negatives remained stored in his darkroom, a tobacco barn, for fifty years. Slated for demolition in the 1970s, the barn was saved at the last moment-and with it, this surprising and unparalleled document of life at the turn of the twentieth century, a turbulent time in the history of the American South. Hugh Mangum's multiple-image, glass plate negatives reveal the open-door policy of his studio to show us lives marked both by notable affluence and hard work, all imbued with a strong sense of individuality, self-creation, and often joy. Seen and experienced in the present, the portraits hint at unexpected relationships and histories and also confirm how historical photographs have the power to subvert familiar narratives. Mangum's photographs are not only images; they are objects that have survived a history of their own and exist within the larger political and cultural history of the American South, demonstrating the unpredictable alchemy that often characterizes the best art-its ability over time to evolve with and absorb life and meaning beyond the intentions or expectations of the artist.

This book covers the last 20 years of artistic research by one of the leading contemporary Italian photographers: Walter Niedermayr. Through the recurring themes of his work such as Alpine landscapes, architecture and the relationship between public and private spaces, the artist's interest in investigating places not only from a geographical but also from a social point of view is highlighted. Although in continuity with the legacy of the Italian photographic tradition, which views the landscape as the key to interpreting society, Niedermayr's visual research is significant in terms of its ability to reinterpret this subject and renew it from both a conceptual and a formal point of view. For the South Tyrolean photographer, physical space today cannot be approached with an exclusively documentary intention, but as the pivot of a transformative relationship between ecology, architecture and society. In some of the works in the Alpine Landschaften (Alpine Landscapes) series, for example, the presence of man in the depiction of the landscape is interpreted as a parameter for measuring the proportions of Alpine panoramas, and at the same time as a political yardstick for his intervention in the metamorphosis of the natural equilibrium. This topic is also underlined in works such as Portraits, where the snow cannons filmed during the summer season - and thus inactive - become ambiguous presences residing in the landscape. Text in English and Italian.

'An ever-dependable showcase for the best images of Britain.' - The Telegraph 'No serious fan of landscape photography books should do without this.' - Digital Camera World 'A plethora of stunning black & white images that capture the UK's diverse topography in all its monochromatic glory.' - Black & White Photography 'Together [the images] attest to photography as a wonderfully effective medium to place the viewer at the same spots as the photographers stood and feel something of the wonder they felt.' - Artmag Charlie Waite is one of today's most respected landscape photographers and the Landscape Photographer of the Year competition is his brainchild. Beautifully presented, this book is a stunning collection of images of the natural world from incredible image-makers, both amateur and professional. Each image is captioned with the photographer's account of the inspiration behind the picture, coupled with the technical information on equipment and technique that shaped the photograph. A hugely prestigious competition, coupled with a high-profile author and an exhibition in central London, Landscape Photographer of the Year has enjoyed huge success in its thirteen years of publication.

In 1942, Bill Manbo (1908-1992) and his family were forced from their Hollywood home into the Japanese American internment camp at Heart Mountain in Wyoming. While there, Manbo documented both the bleakness and beauty of his surroundings, using Kodachrome film, a technology then just seven years old, to capture community celebrations and to record his family's struggle to maintain a normal life under the harsh conditions of racial imprisonment. Colors of Confinement showcases sixty-five stunning images from this extremely rare collection of color photographs, presented along with three interpretive essays by leading scholars and a reflective, personal essay by a former Heart Mountain internee. The subjects of these haunting photos are the routine fare of an amateur photographer: parades, cultural events, people at play, Manbo's son. But the images are set against the backdrop of the barbed-wire enclosure surrounding the Heart Mountain Relocation Center and the dramatic expanse of Wyoming sky and landscape. The accompanying essays illuminate these scenes as they trace a tumultuous history unfolding just beyond the camera's lens, giving readers insight into Japanese American cultural life and the stark realities of life in the camps. Also contributing to the book are: Jasmine Alinder is associate professor of history at the University of Wisconsin-Milwaukee, where she coordinates the program in public history. In 2009 she published Moving Images: Photography and the Japanese American Incarceration (University of Illinois Press). She has also published articles and essays on photography and incarceration, including one on the work of contemporary photographer Patrick Nagatani in the newly released catalog Desire for Magic: Patrick Nagatani--Works, 1976-2006 (University of New Mexico Art Museum, 2009). She is currently working on a book on photography and the law. Lon Kurashige is associate professor of history and American studies and ethnicity at the University of Southern California. His scholarship focuses on racial ideologies, politics of identity, emigration and immigration, historiography, cultural enactments, and social reproduction, particularly as they pertain to Asians in the United States. His exploration of Japanese American assimilation and cultural retention, Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934-1990 (University of California Press, 2002), won the History Book Award from the Association for Asian American Studies in 2004. He has published essays and reviews on the incarceration of Japanese Americans and has coedited with Alice Yang Murray an anthology of documents and essays, Major Problems in Asian American History (Cengage, 2003). Bacon Sakatani was born to immigrant Japanese parents in El Monte, California, twenty miles east of Los Angeles, in 1929. From the first through the fifth grade, he attended a segregated school for Hispanics and Japanese. Shortly after Pearl Harbor, his family was confined at Pomona Assembly Center and then later transferred to the Heart Mountain Relocation Center in Wyoming. When the war ended in 1945, his family relocated to Idaho and then returned to California. He graduated from Mount San Antonio Community College. Soon after the Korean War began, he served with the U.S. Army Engineers in Korea. He held a variety of jobs but learned computer programming and retired from that career in 1992. He has been active in Heart Mountain camp activities and with the Japanese American Korean War Veterans.

ber homosexuelle Frauen gibt es auffallend wenig Quellen. Historisch gesehen existieren fast nur Texte ber m nnliche Homosexualit t, wohingegen eine lesbische Lebensweise kaum registriert wurde. Auch heutzutage scheint die weibliche Homosexualit t beinahe unsichtbar zu sein. Obwohl es Frauen gibt, die sich zu Frauen hingezogen f hlen, obwohl es sie wohl immer gegeben hat, sind sie in der ffentlichkeit so gut wie nicht pr sent. Die Folge davon sind zahlreiche Vorurteile und Klischees. Wirft man einen Blick auf die Welt der Spielfilme, in denen weibliche Homosexualit t thematisch involviert ist, l sst sich schnell feststellen, dass die Inszenierung lesbischer Pr senz deutlich homogen erscheint. Immer wieder wird auf die gleichen Darstellungsmethoden zur ckgegriffen, sobald weibliche Homosexualit t filmisch in Szene gesetzt wird. Die Umsetzung endet dabei in einer F lle von Ablehnungsreaktionen gegen ber lesbischen Frauen, vielen m nnlich auftretenden Frauen, zahlreichen Femmes fatales und noch mehr integrierten M nnern in einer eigentlich lesbischen love story. Konkretisiert werden kann das nur an den Filmen selbst. Und Beispiele lassen sich dabei sowohl in unterschiedlichen Entstehungszeiten, Kulturen, als auch Genres finden. Denn das 'lesbische Filmschema' beginnt in 'Die B chse der Pandora' und setzt sich bis in die heutige Zeit fort. brig bleibt die Frage, ob sich die mangelnde lesbische Pr senz in der ffentlichkeit als Antwort f r die stereotype Inszenierung von weiblicher Homosexualit t herausstellen kann.

In his expansive history of documentary work in the South during the twentieth-century, Scott L. Matthews examines the motivations and methodologies of several pivotal documentarians, including sociologist Howard Odum, photographers Jack Delano and Danny Lyon, and music ethnographer John Cohen. Their work salvaged and celebrated folk cultures threatened by modernization or strived to reveal and reform problems linked to region's racial caste system and exploitative agricultural economy. Images of alluring primitivism and troubling pathology often blurred together, neutralizing the aims of documentary work carried out in the name of reform during the Progressive era, New Deal, and Civil Rights Movement. Black and white southerners in turn often resisted documentarians' attempts to turn their private lives into public symbols. The accumulation of these influential and, occasionally, controversial, documentary images created an enduring, complex, and sometimes self-defeating mythology about the South that persists into the twenty-first century.

Aerial photographs and tourist attractions of Bristol, England, (Great Britain) United Kingdom taken on 5 August 2011. (Front Cover view of the Floating Harbour, Bristol City Centre looking in a south-easterly direction.) Tourist Attractions Ashton Court Estate Country Park and Mansion (850 acres of woodland and grassland offers ballooning, the International Bristol Balloon Fiesta, International Kite Festival, deer park, golf courses, horse riding, market, miniature railway, mountain biking, orienteering and 5 kilometre runs around the estate) pages 12-16] Avon Gorge (rises about 100 metres above the tidal River Avon is a Site of Special Scientific Interest SSSI] part of which is a National Nature Reserve. Natural cliffs and quarry exposures showing complete local succession of Carboniferous limestone make it a historic geological site with rock screes, scrub, pockets of grassland and adjacent woodland supporting an exceptional number of nationally rare and scarce plant species. The ground-cover flora is extremely diverse. Unique to the Gorge are Bristol Rock-cress Arabis stricta and two Whitebeams: Sorbus bristoliensis and S. wilmottiana. ) page 3] Bristol Cathedral has most likely been located at its site for over a thousand years and is a major example of a hall church in the UK. It originated in the Augustine Abbey dedicated to St Augustine the Great and founded in 1140 by Robert FitzHarding, a wealthy merchant, Provost of Bristol and Lord of Berkeley. The Chapter House is Norman and the Choir Medieval with many interesting carvings. page 3] Cabot Tower on the parkland of Brandon Hill is a 105ft tower built in 1897 to commemorate John Cabot's famous voyage four hundred years earlier) page 4] Outdoor Amphitheatre on the Harbourside hosts the annual Bristol Festival for a wide range of talent, cuisine and exhibitions and is popular for skateboarders and BMX riders. page 3] Peros Bridge, (a footbridge named after Pero Jones approx.1753 - 1798] the slave of John Pinney 1740-1818, ] plantation owner on the Caribbean island of Nevis and sugar merchant based in Bristol after 1784. The Trans-Atlantic Slave Trade was of crucial importance both economically and socially to Bristol) page 3] Isambard Kingdom Brunel's Victorian engineering masterpieces: The SS Great Britain (on display in the original Great Western Dockyard where she was first built and launched in 1843 as the largest ship in the world which was also the first screw-propelled, ocean-going, iron-hulled steam ship) page 3] The Clifton Suspension Bridge (originally designed by Brunel but sadly abandoned due to a lack of funds and not completed until 1864, after his death) page 2] The Great Western Railway (GWR) (of which Brunel was Chief Engineer at 27 years of age and Bristol Temple Meads Station) page 3] and St. Mary's Redcliffe Church (described as the fairest, goodliest and most famous parish church in England by Queen Elizabeth 1st) page 5] The Floating Harbour (designed in 1802 by William Jessop a famous civil engineer, it opened in 1809 as a non-tidal harbour and help secure for two centuries Bristol's growth as a commercial port. Closed in 1975 it was then regenerated for leisure, commerce and residences) pages 3-8] The Matthew (a replica of the wooden caravel ship that John Cabot sailed in from Bristol when he landed in Newfoundland, North America in 1497) Although some authorities regard Cabot's landing as discovering North America, there is clear evidence that the Vikings had much earlier landed in Labrador. page 4] The Wills Memorial Tower of Bristol University (Commissioned in 1912 by George Alfred Wills and Henry Herbert Wills, of the Bristol tobacco company, W. D. and H. O. Wills. The building is a memorial to their father, Henry Overton Wills III, who was the first Chancellor of Bristol University. At 215 feet it was designed by George Herbert Oatley and opened by King George V in 1925.) page 4] Japanese Edition]

Aerial photographs and tourist attractions of Bristol, England, (Great Britain) United Kingdom taken on 5 August 2011. (Front Cover view of the Floating Harbour, Bristol City Centre looking in a south-easterly direction.) Tourist Attractions Ashton Court Estate Country Park and Mansion (850 acres of woodland and grassland offers ballooning, the International Bristol Balloon Fiesta, International Kite Festival, deer park, golf courses, horse riding, market, miniature railway, mountain biking, orienteering and 5 kilometre runs around the estate) pages 12-16] Avon Gorge (rises about 100 metres above the tidal River Avon is a Site of Special Scientific Interest SSSI] part of which is a National Nature Reserve. Natural cliffs and quarry exposures showing complete local succession of Carboniferous limestone make it a historic geological site with rock screes, scrub, pockets of grassland and adjacent woodland supporting an exceptional number of nationally rare and scarce plant species. The ground-cover flora is extremely diverse. Unique to the Gorge are Bristol Rock-cress Arabis stricta and two Whitebeams: Sorbus bristoliensis and S. wilmottiana. ) page 3] Bristol Cathedral has most likely been located at its site for over a thousand years and is a major example of a hall church in the UK. It originated in the Augustine Abbey dedicated to St Augustine the Great and founded in 1140 by Robert FitzHarding, a wealthy merchant, Provost of Bristol and Lord of Berkeley. The Chapter House is Norman and the Choir Medieval with many interesting carvings. page 3] Cabot Tower on the parkland of Brandon Hill is a 105ft tower built in 1897 to commemorate John Cabot's famous voyage four hundred years earlier) page 4] Outdoor Amphitheatre on the Harbourside hosts the annual Bristol Festival for a wide range of talent, cuisine and exhibitions and is popular for skateboarders and BMX riders. page 3] Peros Bridge, (a footbridge named after Pero Jones approx.1753 - 1798] the slave of John Pinney 1740-1818, ] plantation owner on the Caribbean island of Nevis and sugar merchant based in Bristol after 1784. The Trans-Atlantic Slave Trade was of crucial importance both economically and socially to Bristol) page 3] Isambard Kingdom Brunel's Victorian engineering masterpieces: The SS Great Britain (on display in the original Great Western Dockyard where she was first built and launched in 1843 as the largest ship in the world which was also the first screw-propelled, ocean-going, iron-hulled steam ship) page 3] The Clifton Suspension Bridge (originally designed by Brunel but sadly abandoned due to a lack of funds and not completed until 1864, after his death) page 2] The Great Western Railway (GWR) (of which Brunel was Chief Engineer at 27 years of age and Bristol Temple Meads Station) page 3] and St. Mary's Redcliffe Church (described as the fairest, goodliest and most famous parish church in England by Queen Elizabeth 1st) page 5] The Floating Harbour (designed in 1802 by William Jessop a famous civil engineer, it opened in 1809 as a non-tidal harbour and help secure for two centuries Bristol's growth as a commercial port. Closed in 1975 it was then regenerated for leisure, commerce and residences) pages 3-8] The Matthew (a replica of the wooden caravel ship that John Cabot sailed in from Bristol when he landed in Newfoundland, North America in 1497) Although some authorities regard Cabot's landing as discovering North America, there is clear evidence that the Vikings had much earlier landed in Labrador. page 4] The Wills Memorial Tower of Bristol University (Commissioned in 1912 by George Alfred Wills and Henry Herbert Wills, of the Bristol tobacco company, W. D. and H. O. Wills. The building is a memorial to their father, Henry Overton Wills III, who was the first Chancellor of Bristol University. At 215 feet it was designed by George Herbert Oatley...) page 4] Chinese Edition]

Faszinierender Artenreichtum, Apotheke der Natur und grune Lunge des Planeten - mit dem Urwald verbinden sich im Alltag vor allem positive Assoziationen. Als Schauplatz fiktionaler Filme kommt er dagegen vielfach negativ daher. Die Brucke am Kwai, Apocalypto, Predator oder Apocalypse Now zeigen die Wildnis schon allein aufgrund des inhaltlichen Kontextes vor allem als gefahrlichen und unberechenbaren Ort. Klaffen offentliche Wahrnehmung und filmische Darstellung vor allem in fiktionalen Filmen auseinander oder wird der Urwald auch in dokumentarischen Filmen ahnlich inszeniert? Der Autor geht dieser Frage nach, indem er die Filme "Fitzcarraldo" und "The White Diamond" des deutschen Regisseurs Werner Herzog miteinander vergleicht. Neben eigenen Beobachtungen fliessen auch Produktionsnotizen sowie tatsachliche Charakteristika des Urwalds in die Analyse ein. Die filmwissenschaftliche Diskussion uber die Auflosung der Genregrenzen spielt dabei ebenfalls eine Rolle

Wie produziert man einen wirtschaftlich erfolgreichen Kinofilm? Gerade einmal 20 bis 30 gro e Filmproduktionen stellen im Jahr, etwa drei bis acht Kinofilme und knapp ein dutzend TV-Filme her. Die meisten anderen Produktionsfirmen konkurrieren auf dem Low- Budget- Markt miteinander. Das berleben vieler Firmen korreliert somit nicht selten mit dem Erfolg einzelner Filmprojekte. Wer sich bei einer derart hohen Wettbewerbsintensit t auf dem nationalen und internationalen Filmmarkt behaupten will, kommt nicht umhin sich der Frage zu stellen, warum manche Filme erfolgreicher sind als andere. Vor diesem Hintergrund will dieses Kompendium, angehenden Filmemachern und Produktionsstudenten, hilfreiche Tipps und Anregungen liefern, wie mit einem deutschen Kinofilm kommerzieller Erfolg im Vorfeld strategisch geplant werden kann. Besonderes Augenmerk wurde dabei auf die Themen Dramaturgie, Finanzierungssysteme und Marketing gelegt. Viele Aspekte dienen vornehmlich als Denkansto . Andere, die in diesem Kontext besonders wichtig erscheinen, werden ausf hrlich analysiert. Zahlreiche Filmbeispiele helfen zudem, die jeweils wesentlichen Punkte zu veranschaulichen. F r das Kapitel Stoffentwicklung" wird exemplarisch der Film Hexe Lilli - Der Drache und das magische Buch" (DE/AT/ES/IT 2009) herangezogen. Zum einen orientiert sich dieser beispielhaft an Voglers Heldenreise," mithilfe derer, dramaturgische Stationen und Wendepunkte leicht nachvollzogen werden k nnen. Zum anderen ist Hexe Lilli" als Kinderfilm, wie in dem gleichnamigen Unterkapitel genauer erl utert wird, f r einen wirtschaftlichen Erfolg geradezu pr destiniert. Grundlagen f r dieses Buch sind, neben umfangreichen Literatur- und Internetrecherchen, vor allem die Sichtung unz hliger Kinofilme, sowie verschiedene Gespr che und Interviews mit Brancheninternen.

Der stereoskopische 3D-Film erlebt derzeit im Kino dank der Fortschritte der digitalen Filmtechnologie eine Renaissance. Im Unterschied zu den ersten Anl ufen kann der digitale Film in 3D heute eine r umliche Darstellung ohne Nebenwirkungen der analogen Filmtechnologie, wie etwa Farbuntreue, Synchronisationsprobleme, Irritationen und Kopfschmerzen bei der Betrachtung l ngerer Filme bieten. Filme wie Avatar" von James Cameron oder Harry Potter and the Deathly Hallows Part 2" von Regisseur David Yates lockten weltweit ein Millionenpublikum ins Kino und stellten neue Allzeitrekorde an den Kinokassen auf. Sechs der zehn umsatzst rksten Kinofilme aller Zeiten (nicht inflationsbereinigt) sind auch in 3D-Versionen im Kino erschienen. Die Kinobesucher sind derzeit (noch) bereit einen bis zu 50prozentigen Preisaufschlag f r die 3D-Kinotickets im Vergleich zu herk mmlichen 2D-Vorstellungen zu zahlen. Demnach konnten am nordamerikanischen Markt im Jahr 2010 mit 25 3DNeuerscheinungen bereits 21 Prozent der gesamten Bruttoerl se an der Kinokasse erzielt werden. F r 2012 werden 69 Projekte erwartet. Branchenkenner erwarten zwar, dass sich das starke Wachstum nach 2012 etwas einbremsen sollte, weil der Neuigkeitseffekt rasch verpufft, und viele Trittbrettfahrer mit minderwertigen, oft erst nachtr glich umgewandelten 3D-Filmen den Markt berschwemmen. Dennoch sollte sich laut Medienexperten der stereoskopische Film vor allem auch durch den Druck der Heimkino-Industrie, die in 3DGer ten einen neuen Absatzmarkt sieht, und der Fernsehstationen in den n chsten Jahren als Erg nzung zu herk mmlichen" 2DFilmen nachhaltig etablieren k nnen. Auch von Seiten der Kinobetreiber besteht gro e Nachfrage nach 3DFilmen, um die derzeit voran getriebene kostenintensive Digitalisierung der Kinos le refinanzieren zu k nnen. Das vorliegende Buch besch ftigt sich mit der Frage, ob das Angebot bzw. die Herstellung von stereoskopischen Werbe- und Wirtschaftsfilmen anhand existierender 3D-Technologien a

Das Portr tbild im Ausweisdokument, die berlieferten Kriegsfotografien des ersten und zweiten Weltkriegs, Bildnisse verstorbener Ikonen der fr hen Popkultur - das fotografische Bild wird in gro em Einvernehmen als ein Abbild der Realit t und Mittel zur Konservierung der Vergangenheit gehandhabt, dem gleichsam auch eine immense Verweiskraft auf das abgebildete Pendant zugeschrieben wird. Zu allen vorhergehenden Abbildungstechniken der Geschichte besitzt sie eine bemerkenswerte Novit t: Die Fotografie wird der Realit t in einem Ma e gerecht, das bis dato nicht vorstellbar war. Die ersten, noch erhaltenen Fotografien datieren auf die 1820er Jahre, grobk rnige Schwarz-Wei -Aufnahmen von Joseph Nic phore Ni pce, der unter Zuhilfenahme einer Zinnplatte als Tr gerschicht und lichtempfindlichen Silbersalzen Direktpositive entwickelte. Die technischen Voraussetzungen und Erkenntnisse, die f r die Anfertigung dieser Fotografien n tig waren, k nnen r ckblickend als Gemeinschaftsarbeit gro er Denker und Experimentatoren der Menschheitsgeschichte gewertet werden. Schon Aristoteles beschrieb Ph nomene, die die Grundprinzipien der fotografischen Funktionsweise darstellen. Damit war die mechanische Komponente des Funktionsprinzips der Kamera bereits fr h bedient; bis zur Anfertigung der ersten haltbaren Fotografie sollten allerdings noch rund 150 Jahre vergehen, da der chemische Aspekt der Fotografie noch nicht ausgereift genug war, um das Bild, das seit Jahrhunderten an die Wand der camera obscura geworfen wurde, nachhaltig auf einer Fotografie zu manifestieren, um schlie lich die seit jeher bestehende Sehnsucht des K nstlers nach einer vollkommenen Widerspiegelung der Welt zu stillen. In dieser Studie soll vorrangig untersucht werden, wie viel realistische Verweiskraft in den Bildern der Fotografie zu detektieren ist und inwieweit die Digitalisierung der Fotografie am Vertrauen des Betrachters r ttelt. Zudem wird besonderer Bezug zu Bildmanipulation und Inszenierung hergestel