With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression. Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form. Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, core features and problems of shared human life. Filmed Thought examines questions of morality in Almod var's Talk to Her, goodness and naivete in Hitchcock's Shadow of a Doubt, love and fantasy in Sirk's All that Heaven Allows, politics and society in Polanski's Chinatown and Malick's The Thin Red Line, and self-understanding and understanding others in Nicholas Ray's In a Lonely Place and in the Dardennes' oeuvre. In each reading, Pippin pays close attention to what makes these films exceptional as technical works of art (paying special attention to the role of cinematic irony) and as intellectual and philosophical achievements. Throughout, he shows how films offer a view of basic problems of human agency from the inside and allow viewers to think with and through them. Captivating and insightful, Filmed Thought shows us what it means to take cinema seriously not just as art, but as thought, and how this medium provides a singular form of reflection on what it is to be human.

Swiss artist Silvie Defraoui, born in 1935, is a pioneer of video art and art education in Switzerland. Beginning in 1975, she worked in collaboration with her husband Chérif Defraoui (1932–1994). Together they developed the Archives du Futur, a reflection on images, their status, and potential for memory and the future. The two artists also founded the legendary Atelier Médias Mixtes at Geneva’s École supérieure des Beaux-Arts (now HEAD—Genève). Since 1995, Defraoui has pursued a practice using various forms of expression, including projection, installation, ceramics, and serigraphy. This book is part of the new On Words series that presents conversations with contemporary women artists. Through them, readers come to understand the sources from which they draw inspiration, the themes in their work, and their view of the world. Edited by Julie Enckell, Federica Martini, and Sarah Burkhalter and bringing together a wide range of viewpoints, the On Words series adds a new narrative to polyphonic art history as told by those who actively shape it. Text in English and French.

Natalie Wood and “lovely� Richard Beymer, to the mercurial Jerome Robbins and “passionate� Rita Moreno, with whom Chakiris remains friends. “I know exactly where my gratitude belongs,� Chakiris writes, “and I still marvel at how, unbeknownst to me at the time, the joyful path of my life was paved one night in 1949 when Jerome Robbins sat Leonard Bernstein and Arthur Laurents down in his apartment and announced, ‘I have an idea.’"

Political humor and satire are, perhaps, as old as comedy itself, and they are crucial to our society and our collective sense of self. Satire is confrontational. It's about push back, descent, discord, disappointment, and demonstrating the absurdity of the status quo. This book is an attempt to explore the sane foundations of satire in our lives. Aristotle famously said that humans are naturally political animals. We need political community to flourish and live good lives. But politics also always entails unpopular decisions and power struggles. Satire is a form of humor that allows us to reflect on the irrational, incomprehensible, and intolerable nature of our lives without becoming totally despondent or depressed. In a poignant, pithy, but not a ponderous manner, Al Gini and Abraham Singer delve into the history of satire to rejoice in its triumphs and watch its development from ancient graffiti to the latest late night TV talk show.

En Grande Grèce, le bel Adonis a largement inspiré les peintres, en majorité apuliens, qui ont illustré les différents épisodes du mythe, dont la remontée des Enfers, assimilable au renouveau de la végétation, thème en rapport avec la destination funéraire des vases. Hormis l'arbre à myrrhe, qui lui a donné naissance, trois plantes sont particulièrement associées à Adonis, le myrte, le laurier et le grenadier. Leur représentation est le sujet de cette étude.

Many thousands of persons here and abroad have been introduced to authentic Indian dancing through the Laubin's dance concerts, lectures, and seminars. Their admirers, as well as other dancers, anthropologists, historians, students of Indian culture, and Indians themselves, will welcome this informative and richly illustrated book. It is based upon a lifetime of study and research, including years the authors spent living with the Indians on or near their reservations (they are adopted Sioux). The authors have been told by the old chiefs, "You know exactly the real Indian ways." These survivors of the Buffalo Days appreciated the Laubins' interest and asked them to learn and preserve the rituals, since their own young people no longer knew all their traditions. This book is the result. In addition to descriptions of the dances, the costumes, the body decorations, and the musical accompaniment, the Laubins give the cultural background of Indian dancing and a wealth of related detail. They enrich their text with many personal experiences and observations. They may have been the first non-Indians to appreciate fully the integral role of dancing in the traditional life patterns of the Indians, a role only recently recognize by scholars in the field. Through their deep understanding of their adopted people the Laubins clear way through misinterpretation and prejudice to a new appreciation of the American Indian.

On January 10, 1999, a mobster walked into a psychiatrist’s office and changed TV history. By shattering preconceptions about the kinds of stories the medium should tell, The Sopranos launched our current age of prestige television, paving the way for such giants as Mad Men, The Wire, Breaking Bad, and Game of Thrones. As TV critics for Tony Soprano’s hometown paper, New Jersey’s The Star-Ledger, Alan Sepinwall and Matt Zoller Seitz were among the first to write about the series before it became a cultural phenomenon.

To celebrate the 20th anniversary of the show’s debut, Sepinwall and Seitz have reunited to produce The Sopranos Sessions, a collection of recaps, conversations, and critical essays covering every episode. Featuring a series of new long-form interviews with series creator David Chase, as well as selections from the authors’ archival writing on the series, The Sopranos Sessions explores the show’s artistry, themes, and legacy, examining its portrayal of Italian Americans, its graphic depictions of violence, and its deep connections to other cinematic and television classics.

The Red Lion production of Love and Miss Harris is booked to tour America, opening in Manhattan. On arrival the group finds that it’s not the Manhattan with the Great White Way of Broadway at its glittering heart, but the part between the Bowery and the East River, on the Lower East Side, in a vaudeville venue owned by a local mobster. And when members of a rival gang decide to disrupt the play, the action shifts from the theatre’s state to its auditorium… Determined to fulfil the rest of their tour dates, the company heads west from New York. Try as they might to shake it off, trouble seems to follow them wherever they go.  What readers are saying about LOVE AND MISS HARRIS (The Company of Fools, Book 1) ‘A cast of wonderful characters brings this story of life and love, and all the troubles that brings with it to magical fruition in this wonderful story. I highly recommend this to anyone who likes stories that engage and entertain.’ ‘The writing is smart and witty. The author describes details including scenery, clothing and food beautifully... makes me want to be amongst the beauty again.’ ‘A very pleasant and interesting story about days gone by.’

Buñuel in the Labyrinth of the Turtles depicts a decisive moment in the life of the great Spanish filmmaker Luis Buñuel: the moment when he doubted surrealism and contemplated embracing a more social type of cinema. At this crucial turning point in his career, he wanted to change the world by showing the hidden heart of reality. Buñuel was deeply affected by the harshness of Las Hurdes and the extreme misery of the people who live in this remote region, so with his friend, the movie producer Ramón Acín, he began work on the pseudo-documentary Land Without Bread. But in the mind of the great surrealist, reality inevitably clashed with dreams and childhood memories, threatening both the film and his friendship with Acín. It is at this moment that the Buñuel of the future was born.

Made for young readers, six and up, this book features portraits that celebrate the diverse beauty of human skin. By depicting people from all over the world against a background that matches their skin tone, Angelica Dass shows us how wonderfully colorful humans really are, questioning the concept of race and the limited categories we use to describe each other. These ideas are simply too small for a world that contains so many beautiful colors and people. The book asks us to consider how we see ourselves and others, through both similarities and differences. Kids also discover how to mix their own skin color with paint. Through a playful and dynamic layout, The Colors We Share encourages looking, questioning, and thinking bigger--inviting us to think about race, and our common humanity, in a new way.

In recent years, puppetry has enjoyed a huge revival on the stages of our theatres, dance venues and opera houses. Large-scale productions such as War Horse and The Lion King have revitalized age-old techniques to attract new audiences and develop the power of storytelling. Puppetry is now seen not only as a specialist art form that exists on its own, but also as a vital tool in the armoury of theatrical storytellers. A Practical Guide to Puppetry offers a comprehensive overview to this versatile art form, exploring established techniques and offering expert instruction on styles from shadow puppetry to group puppetry. Each method is illustrated with practical and accessible exercises, achievable either individually or in a group workshop or rehearsal. With over eighty exercises for improvising, training, designing and directing puppetry, accompanied by 400 illustrations, this new book gives a complete approach to puppeteering with objects, simple puppets and puppets with mechanisms.

Taiwan is a peculiar place resulting in a peculiar cinema, with Hou Hsiao-hsien being its most remarkable product. Hou's signature long and static shots almost invite critics to give auteurist readings of his films, often privileging the analysis of cinematic techniques at the expense of the context from which Hou emerges. In this pioneering study, James Udden argues instead that the Taiwanese experience is the key to understanding Hou's art. The convoluted history of Taiwan in the last century has often rendered fixed social and political categories irrelevant. Changing circumstances have forced the people in Taiwan to be hyperaware of how imaginary identity-above all, national identity-is. Hou translates this larger state of affairs in such masterpieces as City of Sadness, The Puppetmaster, and Flowers of Shanghai, which capture and perhaps even embody the elusive, slippery contours of the collective experience of the islanders. Making extensive uses of Chinese sources from Taiwan, the author shows how important the local matters for this globally recognized director. In this new edition of No Man an Island, James Udden charts a new chapter in the evolving art of Hou Hsiao-hsien, whose latest film, The Assassin, earned him the Best Director Award at the Cannes Film Festival in 2015. Hou breaks new ground in turning the classic wuxia genre into a vehicle to express his unique insight into the working of history. The unconventional approach to conventions is quintessential Hou Hsiao-hsien.

"This visual - and artistically beautiful - format differentiates Einstein: The Man And His Mind from all previous books about him" - Amazon reader review "Gary Berger and Michael DiRuggerio's photographic exploration of Einstein is a indubitably a coffee table book, but in its highest form. It's huge (34 x 26 cm) and contains a collection of beautiful imagery." “massive, well-produced ... Some of these images are striking photographs of Einstein, a good few of which I've never seen before.� "the kind of small, but interesting contribution to the Einstein story we can find here." "a remarkable book…. I've never seen anything quite like it... a fascinating find.� - https://popsciencebooks.blogspot.com Albert Einstein is known by name and image throughout the world to people of all ages. He is probably the most well-known scientist of all time. Even though most people have only a vague idea of what he did, the attraction remains. The raison d'être for this book is to convey a sense of familiarity with Einstein as a real person and with the essence of his contributions. This is accomplished through annotated full-page photographs of Einstein that tell the story of his scientific life. The book is written for the general public. It may appeal to Einstein scholars as well. This visual - and artistically beautiful - format differentiates Einstein: The Man And His Mind from all previous books about him. The images (mostly signed portrait photos) are supplemented by a selection of 53 rare letters, manuscripts, books, journals 51 original rare portraits 4 equations in Einstein's handwriting provided by what is likely the largest private Einstein collection in existence. This project has the support of two private US foundations The Sterling Foundation and The Antonia & Vladimer Kulaev Cultural Heritage Fund, Inc. All royalties will be donated to the Albert Einstein Archives at the Hebrew University of Jerusalem.

With a career spanning over five decades, Tess Jaray has continually explored geometry, colour, pattern and repetition, often inspired by architectural structures. Unlike the certainties of mathematical geometry, Jaray focuses on what she describes as the 'geometry of human relationships', challenging the viewers' perception and relationship with the space surroundings us. Accompanies the exhibition, Tess Jaray: Into Light at Marlborough Fine Art, London (25 May - 17 June 2017) and is co-published by Marlborough Fine Art and Ridinghouse.

Barry Forshaw is acknowledged as a leading expert on crime fiction and film. Following his books on Nordic Noir, Brit Noir and Euro Noir he now tackles the largest and, some might argue, most impressive body of crime fiction from a single country, the United States, to produce the perfect reader's guide to modern American crime fiction. The word 'Noir' is used in its loosest sense: every major living American writer is considered (including the giants Harlan Coben, Patricia Cornwell, James Lee Burke, James Ellroy and Sara Paretsky, as well as non-crime writers such as Stephen King who stray into the genre), often through a concentration on one or two key books. Many exciting new talents are highlighted, and Barry Forshaw's knowledge of - and personal acquaintance with - many of the writers, grants valuable insight into this massively popular field. But the crime genre is as much about films and TV as it is about books, and American Noir is a celebration of the former as well as the latter. US television crime drama in particular is enjoying a golden age, and all of the important current series are covered here, as well as key contemporary films.

The Empire Strikes Back (1980), the second film in the original Star Wars trilogy, is often cited as the ‘best’ and most popular Star Wars movie. In her compelling study, Rebecca Harrison draws on previously unpublished archival research to reveal a variety of original and often surprising perspectives on the film, from the cast and crew who worked on its production through to the audiences who watched it in cinemas. Harrison guides readers on a journey that begins with the film’s production in 1979 and ends with a discussion about its contemporary status as an object of reverence and nostalgia. She demonstrates how Empire’s meaning and significance has continually shifted over the past 40 years not only within the franchise, but also in broader conversations about film authorship, genre, and identity. Offering new insights and original analysis of Empire via its cultural context, production history, textual analysis, exhibition, reception, and post-1980 re-evaluations of the film, the book provides a timely and relevant reassessment of this enduringly popular film.

‘I’ll put you in my diary!’ comedian Kenneth Williams was known to threaten on occasion, although tantalisingly he kept the journal to himself during his lifetime. Here at last, in one spellbinding volume, are four million words of it. For more than forty years, from his sixteenth birthday until the eve of his unexpected death in 1988, the beloved actor and outrageous ‘Carry On’ star Kenneth Williams kept a candid diary. Devastatingly honest about himself, he is equally unsparing in his verdicts on his fellow man. In his descriptions of Tony Hancock, Maggie Smith, Joe Orton and countless others, his waspish sense of humour, love of anecdote and ear for dialogue are given full rein. Malicious, hilarious and harrowing, ‘The Kenneth Williams Diaries’ are a unique portrait of one of Britain’s most popular – and most misunderstood – performers.