This book offers a rare and innovative consideration of an enduring tendency in postwar art to explore places devoid of human agents in the wake of violent encounters. To see the scenery together with the crime elicits a double interrogation, not merely of a physical site but also of its formation as an aesthetic artefact, and ultimately of our own acts of looking and imagining. Closely engaging with a vast array of works made by artists, filmmakers and photographers, each who has forged a distinct vantage point on the aftermath of crime and conflict, the study selectively maps the afterlife of landscape in search of the political and ethical agency of the image. By way of a thoroughly interdisciplinary approach, Crime Scenery in Postwar Film and Photography brings landscape studies into close dialogue with contemporary theory by paying sustained attention to how the gesture of retracing past events facilitates new configurations of the present and future.

This book presents a critical and aesthetic defence of "non-place" as an act of cultural reclamation. Through the restorative properties of photography, it re-conceptualises the cultural significance of non-place. The non-place is often referred to as "wasteland", and is usually avoided. The sites investigated in this book are located where access and ownership are often ambiguous or in dispute; they are places of cultural forgetting. Drawing on the author's own photographic research-led practice, as well as material from photographers such as Ed Ruscha, Joel Sternfeld and Richard Misrach, this study employs a deliberately allusive intertexuality to offer a unique insight into the contested notions surrounding landscape representation. Ultimately, it argues that the non-place has the potential to reveal a version of England that raises questions about identity, loss, memory, landscape valorisation, and, perhaps most importantly, how we are to arrive at a more meaningful place.

For more than thirty years, Jazz Hot, the world's oldest jazz magazine (launched in 1935, as DownBeat), has regularly published Pascal Kober's photos, breakfast interviews, album and festival reviews and feature articles. Over the years, he has built up a unique catalogue of more than 35,000 jazz photos, taken all over the world. As a freelance journalist and photographer, he later contributed to many publications in the French and international press. The venue: musee de l'ancier evechee. Located in the heart of Grenoble, the Bishop's Palace (l'Ancien Eveche) is today a protected historical monument dated from the thirteenth century, housing a highly visited heritage museum. Since its establishment in 1998, this museum has been curated by Isabelle Lazier, an ethnologist, with a passion for both music and photography. In alphabetical order: Jorge Ben, Joao Bosco, Stanley Clarke, Miles Davis, Gil Evans, Joao Gilberto, Dizzy Gillespie, George Gruntz, Jon Hendricks, Elvin and Hank Jones, Joachim Kuhn, Michel Legrand, Manhattan Transfer, Branford and Ellis Marsalis, Mike Stern, Sam Rivers, Linda Womack and... the public. Pascal Kober is a journalist and photographer.

"The first time I saw Sharmila practicing yoga, I was amazed. Her ability to control her body with awe-inspiring precision was mysterious. Her quiet and powerful concentration makes her slowly evolving, rock solid shapes appear like sculpture. By uniting the rich heritage of dance, martial arts and yoga in an unforeseen way, Sharmila is guiding performance into new territory."--Karole Armitage.

From the INTERNATIONALLY BESTSELLING author of The Paris Seamstress comes a story of courage, family and forgiveness from New York to war-torn Europe. Perfect for fans of Kate Furnivall, Lucinda Riley, Kate Morton and Gill Paul 'Divine' GILL PAUL, bestselling author of The Secret Wife 'An emotional and sweeping tale' CHANEL CLEETON, bestselling author of Next Year in Havana 'A splendid, breathtaking novel, full of mystery and passion...a must read!' JEANNE MACKIN, author of The Last Collection ******** 1942 When Jessica May's successful modelling career is abruptly cut short, Vogue send her to war-torn Paris to cover the conflict as a correspondent. She's courageous and a fast-learner, but of course the military men make her life as difficult as possible. Three friendships change that: journalist Martha Gellhorn encourages Jess to bend the rules; paratrooper Dan Hallworth shows her how to take pictures and write stories that matter; and a little girl, Victorine, who shows Jess how to open hear heart. 2005 Australian curator D'Arcy Hallworth arrives at a beautiful French chateau to manage a famous collection of photographs. What begins as just another job becomes far more disquieting as D'Arcy uncovers the true identity of the mysterious French photographer...

Italy's largest and greatest trade union, the CGIL, was formed in 1906, epitomizing what the fledgling nation's culture and credos were to represent in the twentieth century. At the time, the CGIL was able to encapsulate a traditional working class, the inevitable bourgeoisie, capitalists, and, later, fervent communists. Now, almost 100 years later, Italy has changed fundamentally. The demographic differences so starkly apparent at the time of the CGIL's formation have simply faded away, like a vibrant watercolor exposed to the sun. They have been replaced by a colorless chain-store homogeneity, a vagueness of purpose, a flatulent middle class without values or value. Made in Italy CGIL 100 investigates these shifts via pictures from four young photographers, Emiliano Mancuso, Mario Spada, Massimo Berruti, and Giancarlo Ceraudo. It asks the inevitable questions: How can this have happened? Is anybody paying attention?