|
Showing 1 - 10 of
10 matches in All Departments
From The Lady Eve, to The Big Valley, Barbara Stanwyck played parts
that showcased her multidimensional talents but also illustrated
the limits imposed on women in film and television. Catherine
Russell's A to Z consideration of the iconic actress analyzes
twenty-six facets of Stanwyck and the America of her times. Russell
examines Stanwyck's work onscreen against the backdrop of costuming
and other aspects of filmmaking. But she also views the actress's
off-screen performance within the Hollywood networks that made her
an industry favorite and longtime cornerstone of the entertainment
community. Russell's montage approach coalesces into an engrossing
portrait of a singular artist whose intelligence and savvy placed
her center-stage in the production of her films and in the debates
around women, femininity, and motherhood that roiled mid-century
America. Original and rich, The Cinema of Barbara Stanwyck is an
essential and entertaining reexamination of an enduring Hollywood
star.
In Archiveology Catherine Russell uses the work of Walter Benjamin
to explore how the practice of archiveology-the reuse, recycling,
appropriation, and borrowing of archival sounds and images by
filmmakers-provides ways to imagine the past and the future. Noting
how the film archive does not function simply as a place where
moving images are preserved, Russell examines a range of films
alongside Benjamin's conceptions of memory, document, excavation,
and historiography. She shows how city films such as Nicole
Vedres's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays
Itself (2003) reconstruct notions of urban life and uses Christian
Marclay's The Clock (2010) to draw parallels between critical
cinephilia and Benjamin's theory of the phantasmagoria. Russell
also discusses practices of collecting in archiveological film and
rereads films by Joseph Cornell and Rania Stephan to explore an
archival practice that dislocates and relocates the female image in
film. In so doing, she not only shows how Benjamin's work is as
relevant to film theory as ever; she shows how archiveology can
awaken artists and audiences to critical forms of history and
memory.
In Archiveology Catherine Russell uses the work of Walter Benjamin
to explore how the practice of archiveology-the reuse, recycling,
appropriation, and borrowing of archival sounds and images by
filmmakers-provides ways to imagine the past and the future. Noting
how the film archive does not function simply as a place where
moving images are preserved, Russell examines a range of films
alongside Benjamin's conceptions of memory, document, excavation,
and historiography. She shows how city films such as Nicole
Vedres's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays
Itself (2003) reconstruct notions of urban life and uses Christian
Marclay's The Clock (2010) to draw parallels between critical
cinephilia and Benjamin's theory of the phantasmagoria. Russell
also discusses practices of collecting in archiveological film and
rereads films by Joseph Cornell and Rania Stephan to explore an
archival practice that dislocates and relocates the female image in
film. In so doing, she not only shows how Benjamin's work is as
relevant to film theory as ever; she shows how archiveology can
awaken artists and audiences to critical forms of history and
memory.
From The Lady Eve, to The Big Valley, Barbara Stanwyck played parts
that showcased her multidimensional talents but also illustrated
the limits imposed on women in film and television. Catherine
Russell's A to Z consideration of the iconic actress analyzes
twenty-six facets of Stanwyck and the America of her times. Russell
examines Stanwyck's work onscreen against the backdrop of costuming
and other aspects of filmmaking. But she also views the actress's
off-screen performance within the Hollywood networks that made her
an industry favorite and longtime cornerstone of the entertainment
community. Russell's montage approach coalesces into an engrossing
portrait of a singular artist whose intelligence and savvy placed
her center-stage in the production of her films and in the debates
around women, femininity, and motherhood that roiled mid-century
America. Original and rich, The Cinema of Barbara Stanwyck is an
essential and entertaining reexamination of an enduring Hollywood
star.
Catherine Russell demystifies the canon of great Japanese cinema,
treating it with fewer auteurist and Orientalist assumptions than
many other scholars and critics. Catherine Russell's highly
accessible book approaches Japanese cinema as an industry closely
modeled on Hollywood, focusing on the classical period - those
years in which the studio system dominated all film production in
Japan, from roughly 1930 to 1960. Respectful and thoroughly
informed about the aesthetics and critical values of the Japanese
canon, Russell is also critical of some of its ideological
tendencies, and her analyses provide new insights on class and
gender dynamics. Russell demonstrates how Japanese classical cinema
has had enormous influence on other Asian cinemas, especially in TV
broadcast form, and she highlights the importance of the accounting
for the industrial production context when discussing these films.
Including studies of landmark films by Ozu, Kurosawa and other
directors, this book provides a perfect introduction to a crucial
and often misunderstood Japanese cultural output. With a critical
approach that highlights the "everydayness" of Japanese studio-era
cinema, Catherine Russell demystifies the canon of great Japanese
cinema, treating it with fewer auteurist and Orientalist
assumptions than many other scholars and critics.
Catherine Russell's highly accessible book approaches Japanese
cinema as an industry closely modeled on Hollywood, focusing on the
classical period - those years in which the studio system dominated
all film production in Japan, from roughly 1930 to 1960. Respectful
and thoroughly informed about the aesthetics and critical values of
the Japanese canon, Russell is also critical of some of its
ideological tendencies, and her analyses provide new insights on
class and gender dynamics. Russell demonstrates how Japanese
classical cinema has had enormous influence on other Asian cinemas,
especially in TV broadcast form, and she highlights the importance
of the accounting for the industrial production context when
discussing these films. Including studies of landmark films by Ozu,
Kurosawa and other directors, this book provides a perfect
introduction to a crucial and often misunderstood area of Japanese
cultural output. With a critical approach that highlights the
everydaynessA" of Japanese studio-era cinema, Catherine Russell
demystifies the canon of great Japanese cinema, treating it with
fewer auteurist and Orientalist assumptions than many other
scholars and critics.
Experimental film and ethnographic film have long been considered
separate, autonomous practices on the margins of mainstream cinema.
By exploring the interplay between the two forms, Catherine Russell
throws new light on both the avant-garde and visual anthropology.
Russell provides detailed analyses of more than thirty-five films
and videos from the 1890s to the 1990s and discusses a wide range
of film and videomakers, including Georges Melies, Maya Deren,
Peter Kubelka, Ray Birdwhistell, Jean Rouch, Su Friedrich, Bill
Viola, Kidlat Tahimik, Margaret Mead, Tracey Moffatt, and Chantal
Akerman. Arguing that video enables us to see film differently--not
as a vanishing culture but as bodies inscripted in technology,
Russell maps the slow fade from modernism to postmodern practices.
Combining cultural critique with aesthetic analysis, she explores
the dynamics of historical interruption, recovery, and
reevaluation. As disciplinary boundaries dissolve, Russell
contends, ethnography is a means of renewing the avant-gardism of
"experimental" film, of mobilizing its play with language and form
for historical ends. "Ethnography" likewise becomes an expansive
term in which culture is represented from many different and
fragmented perspectives.
Original in both its choice of subject and its theoretical and
methodological
approaches, " Experimental Ethnography" will appeal to visual
anthropologists, as well as film scholars interested in
experimental and documentary practices.
One of the most prolific and respected directors of Japanese
cinema, Naruse Mikio (1905–69) made eighty-nine films between
1930 and 1967. Little, however, has been written about Naruse in
English, and much of the writing about him in Japanese has not been
translated into English. With The Cinema of Naruse Mikio, Catherine
Russell brings deserved critical attention to this
under-appreciated director. Besides illuminating Naruse’s
contributions to Japanese and world cinema, Russell’s in-depth
study of the director sheds new light on the Japanese film industry
between the 1930s and the 1960s.Naruse was a studio-based director,
a company man renowned for bringing films in on budget and on time.
During his long career, he directed movies in different styles of
melodrama while displaying a remarkable continuity of tone. His
films were based on a variety of Japanese literary sources and
original scripts; almost all of them were set in contemporary
Japan. Many were “women’s films.” They had female
protagonists, and they depicted women’s passions,
disappointments, routines, and living conditions. While neither
Naruse or his audiences identified themselves as “feminist,”
his films repeatedly foreground, if not challenge, the rigid gender
norms of Japanese society. Given the complex historical and
critical issues surrounding Naruse’s cinema, a comprehensive
study of the director demands an innovative and interdisciplinary
approach. Russell draws on the critical reception of Naruse in
Japan in addition to the cultural theories of Harry Harootunian,
Miriam Hansen, and Walter Benjamin. She shows that Naruse’s
movies were key texts of Japanese modernity, both in the ways that
they portrayed the changing roles of Japanese women in the public
sphere and in their depiction of an urban, industrialized,
mass-media-saturated society.
Amy Russell has designed the ultimate
"not-another-research-textbook" textbook: a hands-on approach to
teaching research that overcomes the resistance of the most
apprehensive student. Included in this book and its supplemental
materials are everything that both instructors and students need
for a class built around the experience of conducting an entire
practice-based research project. Students use actual data collected
from their field experience to help them connect the importance of
research to their own practice interests. Russell frames her
approach to research and evaluation, not as an abstract exercise in
accountability, but instead as a tool to empower social service
agencies. Rather than weighing students down with every possible
test and procedure, this book walks readers through each discrete
step of the research process and presents only the information they
need to know when they need to know it! The book's casual tone and
playful attitude allays students' anxieties and helps them not only
understand the purpose of research but actually develop their own
passion for the practice.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|