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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
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John Akomfrah
James Harvey
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R833
Discovery Miles 8 330
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Ships in 12 - 17 working days
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The films of John Akomfrah represent one of the most significant
bodies of artistic production in the post-war era in Britain, yet
little attempt has been made to analyse the consistencies and
divergences across them. James Harvey’s John Akomfrah is the
first comprehensive analytic engagement with these films, offering
sustained close engagement with the artist’s core thematic
preoccupations and aesthetic tendencies. His analysis negotiates
the contextual and theoretical layers of Akomfrah’s rich and
complex films, from the intermedial diaspora aesthetics of
Handsworth Songs (1986) to the intersectional spatial ecopolitics
of Purple (2017). Positioning Akomfrah in the burgeoning black
British arts and cultural scene of the 1980s as a member of Black
Audio Film Collective, Harvey traces the evolution of a critical
relationship with the postcolonial archive in his early films,
through analysis of documentaries made for television in the 1990s
and up to more recent film installations in museums and galleries.
Bringing change to our public school system is hard, and the
current system of education governance creates barriers that can
make that reform even harder. Here six authorities in public
education discuss how local philanthropies can overcome them even
if school districts cannot. Making School Reform Work identifies
new institutions that can be created by foundations and civic
groups to remedy deficiencies in local school governance, formulate
bold reforms, and guarantee implementation. These institutions
include incubators for starting new schools, independent data
analysis centers, public-private partnerships for recruitment and
training of school leaders, and new ways of funding and managing
school facilities. The contributors are Sarah Brooks (Carleton
College), Michael DeArmond (University of Washington), Marguerite
Roza (University of Washington), and Abigail Winger (Milwaukee
consultant).
This book investigates screen representations of 21st century
nationalism-arguably the most urgent and apparent phenomenon in the
Western world today. The chapters explore recurrent thematic and
stylistic features of 21st century western European cinema, and
analyse the ways in which film responds to contemporary
developments of mounting tensions and increasing hostilities to
difference. The collection blends incisive sociological and
historical engagement with close textual analysis of many types of
screen media, including popular cinema, art-house productions,
low-budget independent work, documentary and video installation.
Identifying motifs of nationhood and indigeneity throughout, the
contributors of this volume present important perspectives and a
timely cultural response to the contemporary moment of nationalism.
A lifetime of cinematic writing culminates in this breathtaking
statement on film's unique ability to move us Cinema is commonly
hailed as "the universal language," but how does it communicate so
effortlessly across cultural and linguistic borders? In The
Eloquent Screen, influential film critic Gilberto Perez makes a
capstone statement on the powerful ways in which film acts on our
minds and senses. Drawing on a lifetime's worth of viewing and
re-viewing, Perez invokes a dizzying array of masters past and
present-including Chaplin, Ford, Kiarostami, Eisenstein, Malick,
Mizoguchi, Haneke, Hitchcock, and Godard-to explore the transaction
between filmmaker and audience. He begins by explaining how film
fits into the rhetorical tradition of persuasion and argumentation.
Next, Perez explores how film embodies the central tropes of
rhetoric--metaphor, metonymy, allegory, and synecdoche--and
concludes with a thrilling account of cinema's spectacular capacity
to create relationships of identification with its audiences.
Although there have been several attempts to develop a poetics of
film, there has been no sustained attempt to set forth a rhetoric
of film-one that bridges aesthetics and audience. Grasping that
challenge, The Eloquent Screen shows how cinema, as the consummate
contemporary art form, establishes a thoroughly modern rhetoric in
which different points of view are brought into clear focus.
The films of John Akomfrah represent one of the most significant
bodies of artistic production in the post-war era in Britain, yet
little attempt has been made to analyse the consistencies and
divergences across them. James Harvey’s John Akomfrah is the
first comprehensive analytic engagement with these films, offering
sustained close engagement with the artist’s core thematic
preoccupations and aesthetic tendencies. His analysis negotiates
the contextual and theoretical layers of Akomfrah’s rich and
complex films, from the intermedial diaspora aesthetics of
Handsworth Songs (1986) to the intersectional spatial ecopolitics
of Purple (2017). Positioning Akomfrah in the burgeoning black
British arts and cultural scene of the 1980s as a member of Black
Audio Film Collective, Harvey traces the evolution of a critical
relationship with the postcolonial archive in his early films,
through analysis of documentaries made for television in the 1990s
and up to more recent film installations in museums and galleries.
This book investigates screen representations of 21st century
nationalism-arguably the most urgent and apparent phenomenon in the
Western world today. The chapters explore recurrent thematic and
stylistic features of 21st century western European cinema, and
analyse the ways in which film responds to contemporary
developments of mounting tensions and increasing hostilities to
difference. The collection blends incisive sociological and
historical engagement with close textual analysis of many types of
screen media, including popular cinema, art-house productions,
low-budget independent work, documentary and video installation.
Identifying motifs of nationhood and indigeneity throughout, the
contributors of this volume present important perspectives and a
timely cultural response to the contemporary moment of nationalism.
This book is a volume in the Penn Press Anniversary Collection. To
mark its 125th anniversary in 2015, the University of Pennsylvania
Press rereleased more than 1,100 titles from Penn Press's
distinguished backlist from 1899-1999 that had fallen out of print.
Spanning an entire century, the Anniversary Collection offers
peer-reviewed scholarship in a wide range of subject areas.
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