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'This important new volume reconstructs the forms of production,
distribution and exhibition of films made in and about the
colonies. It then ties them to wider theoretical issues about film
and liberalism, spectacle and political economy, representation and
rule. The result is one of the first volumes to examine how
imperial rule is intimately tied to the emergence of documentary as
a form and, indeed, how the history of cinema is at the same time
the history of Empire.' BRIAN LARKIN, Barnard College 'This superb
collection of new scholarship shows how cinema both communicated
and aided the imperialist agenda throughout the twentieth century.
In doing so, it shows film can be understood as one of the tools of
empire, as much as the technology of weaponry or modes of
administration: a means of education and indoctrination in the
colonies and at home.' TOM GUNNING, University of Chicago At its
height in 1919, the British Empire claimed 58 countries, 400
million subjects, and 14 million square miles of ground. Empire and
Film brings together leading international scholars to examine the
integral role cinema played in the control, organisation, and
governance of this diverse geopolitical space. The essays reveal
the complex interplay between the political and economic control
essential to imperialism and the emergence and development of
cinema in the late nineteenth and first half of the twentieth
century. Contributors address how the production, distribution and
exhibition of film were utilised by state and industrial and
philanthropic institutions to shape the subject positions of
coloniser and colonised; to demarcate between 'civilised' and
'primitive' and codify difference; and to foster a political
economy of imperialism that was predicated on distinctions between
core and periphery. The generic forms of colonial cinema were,
consequently, varied: travelogues mapped colonial spaces; actuality
films re-presented spectacles of royal authority and imperial
conquest and conflict; home movies rendered colonial
self-representation; state-financed newsreels and documentaries
fostered political and economic control and the 'education' of
British and colonial subjects; philanthropic and industrial
organisations sponsored films to expand Western models of
capitalism; British and American film companies made films of
imperial adventure. These films circulated widely in Britain and
the empire, and were sustained through the establishment of
imperial networks of distribution and exhibition, including in
particular innovative mobile exhibition circuits and non-theatrical
spaces like schools, museums and civic centres. Empire and Film is
a significant revision to the historical and conceptual frameworks
of British cinema history, and is a major contribution to the
history of cinema as a global form that emerged amid, and in
dialogue with, the global flows of imperialism. The book is
produced in conjunction with a major website housing freely
available digitised archival films and materials relating to
British colonial cinema, www.colonialfilm.org.uk, and a companion
volume entitled Film and the End of Empire.
This volume is a selection of significant and previously unpublished essays and short stories by the influential critic of German and American literature and popular culture, James A. Snead. The volume contains innovative essays and notes about African American popular culture, literary criticism and five pieces of short fiction. Published posthumously, the volume attests to Snead's unique intellectual commitment to a critical engagement with the interconnections between European and African American cultural formations.
This second edition of Colin MacCabe's James Joyce and the Revolution of the Word reprints a classic critical text on Joyce and adds a wealth of new material which places the text in its political and historical context. The argument links politics and literature, sex and language, to provide an account of Joyce which places him continually in both Irish and European history.
This second edition of Colin MacCabe's James Joyce and the Revolution of the Word reprints a classic critical text on Joyce and adds a wealth of new material which places the text in its political and historical context. The argument links politics and literature, sex and language, to provide an account of Joyce which places him continually in both Irish and European history.
Directed by Donald Cammell and Nicolas Roeg, and starring James
Fox, Mick Jagger and Anita Pallenberg, Performance was filmed in
1968, but not released until 1970. When its studio backers saw the
director's cut, they were so shocked by the film's sexual
explicitness and formal radicalism that attempts were made to
destroy the negative. In his study of the film, Colin MacCabe draws
on extensive interviews with surviving participants to present the
definitive history of the making of Performance, as well as a new
interpretation of its consummate artistry. This edition includes an
afterword reflecting on the film 50 years on, and the reasons for
its continuing classic status. Performance's extraordinary power,
suggests MacCabe, comes partly from its entrancing portrayal of
London in the late 1960s, but primarily from its full scale assault
on any notion of normality, not simply at the level of content but
also of form. The remarkable ending, when the thriller and the
psychodrama merge into one, means that there is no comfortable
resolution to the film's meanings. Performance is one of those rare
narrative film which takes us into the complexity of sound and
image without the comforting guarantee of a safe exit.
In this book, the author argues that the standard Marxist
conceptions of the relations of nature to value, of humans to
nature, and of history to time, are no longer tenable. He contends
that the centrality of cultural categories, as raised by the
feminist, art, and ecology movements, amongst others, is one
crucial difference for the late industrial world, demanding a break
from the dominant tendencies within Marxism to reduce causality to
its economic factor. The book offers an approach towards a new way
of thinking about these problems, and this edition has been revised
to incorporate new material.
'The essays are exemplary in their stylistic clarity. One can only
compliment MacCabe along with the contributors, for the readability
and conceptual variability of this collection. 'E.Ragland-Sullivan,
Lacan Study Notes This book, which grew out of a series of seminars
at King's College, Cambridge, addresses itself to the problem of
understanding the relations between psychoanalysis and language not
only in terms of contemporary linguistic and philosophical
conceptions of language but also in relation to the wider field of
the human sciences.
James Joyce is one of the greatest writers in English. His first
book, A Portrait of the Artist as A Young Man laid down the
template for the Coming of Age novel, while his collection of short
stories, Dubliners, is of perennial interest. His great modern
epic, Ulysses, took the city of Dublin for its setting and all
human life for its subject, and its publication in 1922 marked the
beginning of the modern novel. Joyce's final work, Finnegans Wake
is an endless experiment in narrative and language. But if Joyce is
a great writer he is also the most difficult writer in English.
Finnegans Wake is written in a freshly invented language, and
Ulysses exhausts all the forms and styles of English. Even the
apparently simple Dubliners has plots of endless complexity, while
the structure of A Portrait of the Artist as A Young Man is
exceptionally intricate. This Very Short Introduction explores the
work of this most influential yet complex writer, and analyses how
Joyce's difficulty grew out of his situation as an Irish writer
unwilling to accept the traditions of his imperialist oppressor,
and contemptuous of the cultural banality of the Gaelic revival.
Joyce wanted to investigate and celebrate his own life, but this
meant investigating and celebrating the drunks of Dublin's pubs and
the prostitutes of Dublin's brothels. No subject was alien to him
and he developed the naturalist project of recording all aspects of
life with the symbolist project of finding significant
correspondences in the most unlikely material. Throughout, Colin
MacCabe interweaves Joyce's life and history with his books, and
draws out their themes and connections. Very Short Introductions:
Brilliant, Sharp, Inspiring ABOUT THE SERIES: The Very Short
Introductions series from Oxford University Press contains hundreds
of titles in almost every subject area. These pocket-sized books
are the perfect way to get ahead in a new subject quickly. Our
expert authors combine facts, analysis, perspective, new ideas, and
enthusiasm to make interesting and challenging topics highly
readable.
John Healy's The Grass Arena describes with unflinching honesty his
experiences of addiction, his escape through learning to play chess
in prison, and his ongoing search for peace of mind. This Penguin
Classics edition includes an afterword by Colin MacCabe. In his
searing autobiography Healy describes his fifteen years living
rough in London without state aid, when begging carried an
automatic three-year prison sentence and vagrant alcoholics prowled
the parks and streets in search of drink or prey. When not united
in their common aim of acquiring alcohol, winos sometimes murdered
one another over prostitutes or a bottle, or the begging of money.
Few modern writers have managed to match Healy's power to refine
from the brutal destructive condition of the chronic alcoholic a
story so compelling it is beyond comparison. John Healy (b. 1943)
was born into an impoverished, Irish immigrant family, in the slums
of Kentish Town, North London. Out of school by 14, pressed into
the army and intermittently in prison, Healy became an alcoholic
early on in life. Despite these obstacles Healy achieved
remarkable, indeed phenomenal expertise in both writing and chess,
as outlined in the autobiographical The Grass Arena. If you enjoyed
The Grass Arena, you might like Last Exit to Brooklyn, also
available in Penguin Modern Classics. 'Sober and precise,
grotesque, violent, sad, charming and hilarious all at once'
Literary Review 'Beside it, a book like Orwell's Down and Out in
Paris and London seems a rather inaccurate tourist guide' Colin
MacCabe
In these two volumes of original essays, scholars from around the
world address the history of British colonial cinema stretching
from the emergence of cinema at the height of imperialism, to
moments of decolonization andthe ending of formal imperialism in
the post-Second World War.
'Film and the End of Empire', focuses on the years 1939 to circa
1966, encompassing WWII, the decline of the British formal empire,
and the transition to the Commonwealth through policies of colonial
development and warfare that maintained structures of colonial
hegemoney. Authors address these films as complex historical
records.
'This important new volume reconstructs the forms of production,
distribution and exhibition of films made in and about the
colonies. It then ties them to wider theoretical issues about film
and liberalism, spectacle and political economy, representation and
rule. The result is one of the first volumes to examine how
imperial rule is intimately tied to the emergence of documentary as
a form and, indeed, how the history of cinema is at the same time
the history of Empire.' BRIAN LARKIN, Barnard College 'This superb
collection of new scholarship shows how cinema both communicated
and aided the imperialist agenda throughout the twentieth century.
In doing so, it shows film can be understood as one of the tools of
empire, as much as the technology of weaponry or modes of
administration: a means of education and indoctrination in the
colonies and at home.' TOM GUNNING, University of Chicago At its
height in 1919, the British Empire claimed 58 countries, 400
million subjects, and 14 million square miles of ground. Empire and
Film brings together leading international scholars to examine the
integral role cinema played in the control, organisation, and
governance of this diverse geopolitical space. The essays reveal
the complex interplay between the political and economic control
essential to imperialism and the emergence and development of
cinema in the late nineteenth and first half of the twentieth
century. Contributors address how the production, distribution and
exhibition of film were utilised by state and industrial and
philanthropic institutions to shape the subject positions of
coloniser and colonised; to demarcate between 'civilised' and
'primitive' and codify difference; and to foster a political
economy of imperialism that was predicated on distinctions between
core and periphery. The generic forms of colonial cinema were,
consequently, varied: travelogues mapped colonial spaces; actuality
films re-presented spectacles of royal authority and imperial
conquest and conflict; home movies rendered colonial
self-representation; state-financed newsreels and documentaries
fostered political and economic control and the 'education' of
British and colonial subjects; philanthropic and industrial
organisations sponsored films to expand Western models of
capitalism; British and American film companies made films of
imperial adventure. These films circulated widely in Britain and
the empire, and were sustained through the establishment of
imperial networks of distribution and exhibition, including in
particular innovative mobile exhibition circuits and non-theatrical
spaces like schools, museums and civic centres. Empire and Film is
a significant revision to the historical and conceptual frameworks
of British cinema history, and is a major contribution to the
history of cinema as a global form that emerged amid, and in
dialogue with, the global flows of imperialism. The book is
produced in conjunction with a major website housing freely
available digitised archival films and materials relating to
British colonial cinema, www.colonialfilm.org.uk, and a companion
volume entitled Film and the End of Empire.
Jean-Luc Godard's early films revolutionized the language of
cinema. Hugely prolific in his first decade--"Breathless, Contempt,
Pierrot le Fou, Alphaville," and" Made in USA "are just a handful
of the seminal works he directed--Godard introduced filmgoers to
the generation of stars associated with the trumpeted sexuality of
postwar movies and culture: Brigitte Bardot, Jean Seberg, Jean-Paul
Belmondo, and Anna Karina. As the sixties wore on, however,
Godard's life was transformed. The Hollywood he had idolized began
to disgust him, and in the midst of the socialist ferment in France
his second wife introduced him to the activist student left. From
1968 to 1972, Europe's greatest director worked in the service of
Maoist politics, and continued thereafter to experiment on the far
peripheries of the medium he had transformed. His extraordinary
later works are little seen or appreciated, yet he remains one of
Europe's most influential artists.Drawing on his own working
experience with Godard and his coterie, Colin MacCabe, in this
first biography of the director, has written a thrilling account of
the French cinema's transformation in the hands of Truffaut,
Rohmer, Rivette, and Chabrol--critics who toppled the old
aesthetics by becoming, legendarily, directors themselves--and
Godard's determination to make cinema the greatest of the arts.
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The Schreber Case (Paperback)
Sigmund Freud; Translated by Andrew Webber; Introduction by Colin MacCabe
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R396
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Discovery Miles 3 390
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Freud rarely treated psychotic patients or psychoanalyzed people just from their writings, but he had a powerful and imaginative understanding of their condition—revealed, most notably, in this analysis of a remarkable memoir. In 1903, Judge Daniel Schreber, a highly intelligent and cultured man, produced a vivid account of his nervous illness dominated by the desire to become a woman, terrifying delusions about his doctor, and a belief in his own special relationship with God. Eight years later, Freud's penetrating insight uncovered the impulses and feelings Schreber had about his father, which underlay his extravagant symptoms.
Upholding literature and film together as academically interwoven,
Perpetual Carnival underscores the everlasting coexistence of
realism and modernism, eschewing the popularly accepted view that
the latter is itself a rejection of the former. Mining examples
from both film and literature, Colin MacCabe asserts that the
relationship between film and literature springs to life a wealth
of beloved modernist art, from Jean-Luc Godard's Pierre le Fou to
James Joyce's Ulysses, enriched by realism's enduring legacy. The
intertextuality inherent in adaptation furthers this assertion in
MacCabe's inclusion of Roman Polanski's Tess, a 1979 adaptation of
Thomas Hardy's nineteenth-century realist novel, Tess of the
d'Urbervilles. Showcasing essays enlivened by cosmopolitan
interests, theoretical insight, and strong social purpose,
Perpetual Carnival supports a humanities which repudiates narrow
specialization and which seeks to place the discussion of film and
literature firmly in the reality of current political and
ideological discussion. It argues for the writers and directors,
the thinkers and critics, who have most fired the contemporary
imagination.
Adaptation persists as a major area of inquiry in both film and
literary studies. Over the past two decades, scholars have extended
the debate well beyond George Bluestone's influential Novels into
Film (1957) by taking into account such concerns as intertextuality
and different forms of narrative enabled through new media. A
dominant trend has been to dispense straight away with questions of
fidelity and "faithfulness," the assumption being that such views
are naive, moralistic, and rooted in a cultural prejudice against
the audiovisual. While acknowledging the merits of this
position-namely its complication of the one-way "page-to-screen"
perspective-this collection seeks to put the question of fidelity
back into play. The essays explore the ways in which the newer,
more sophisticated approaches can still accommodate forms of
fidelity between two or more texts without having to reinscribe
untenable distinctions between "original" and "copy," and without
having to argue from a strict media essentialist position that
stages an impasse between linguistic and cinematic means of
articulation. In addition, the scholars in this volume seek to
recognize and account for fidelity's cultural currency among
filmmakers and audiences alike, no matter how impossible fidelity
might be in a literal sense. The selected essays offer an
opportunity to showcase both well established adaptation scholars
(Laura Mulvey, Dudley Andrew, Tom Gunning and James Naremore) and
emerging voices in the field.
* Lucid and accessible style makes the series appealing to the
general reader* Liberally illustrated throughout with stills from
the film under discussion* Collaboration between Cork University
Press and the Film Institute of Ireland."The Butcher Boy" is
perhaps the finest film to have come out of Ireland. Although it
breaks clearly with the banal canons of realism, it is nonetheless
the most realistic of Irish films. It engages with the society and
culture of modern Ireland with a wit and ferocity that denies the
viewer any easy moral position. Cinema is often thought of as a
purely visual art, but this film is adapted from a groundbreaking
novel by a filmmaker who is himself a writer of prose fiction. In
this present study, Colin MacCabe examines the process by which
fiction becomes film, and writing becomes image. The book places
"The Butcher Boy" in the overall context of Neil Jordan's career,
and analyzes the trajectory between his international and national
films.
T.S. Eliots's life took him from the United States to England, from
philosophy to poetry and from modern scepticism to traditional
Christianity. Colin MacCabe's study places Eliot's poetry in the
context of these journeys and uses Eliot's life to illuminate his
poetry. This poetry, although very modest in quantity, remains one
of the great artistic triumphs of the English language. In his
ironic accounts of adolescent desire in 'The Love Song of Alfred
Prufrock' and 'Portrait of a Lady', he performs masculine
self-doubt with a pathos and wit that has yet to be surpassed in
poem, book or song. But these early poems can seem like mere
exercises beside the astonishing achievements of 'Gerontion' and
'The Wasteland', poems which defined a generation and which broke
the mould in English verse to allow a symphony of despairing voices
to bear witness to the destruction in Europe. Finally, in 'Four
Quartets' he forges an original form and a compelling tone to hymn
both religious belief and national destiny as England faced defeat
at the hands of Germany.
In The Eloquence of the Vulgar, the distinguished academic Colin
MacCabe reflects on cultural change from Shakespeare to Derek
Jarman, on the institutional forms of knowledge, on the links
between popular and elite art, and on the role of the intellectual
in contemporary life. A radical argument emerges from the book's
diverse concerns. Cinema and television - the new and democratic
art forms of the twentieth century - demand a fundamental
rethinking of our concepts of language and culture. What is at
stake is the very idea of a liberal and humane education.
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