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There are two oppositional narratives in relation to telling the
story of indigenous peoples and minorities in relation to
globalization and intellectual property rights. The first, the
narrative of Optimism, is a story of the triumphant opening of
brave new worlds of commercial integration and cultural inclusion.
The second, the narrative of Fear, is a story of the endangerment,
mourning, and loss of a traditional culture. While the story of
Optimism deploys a rhetoric of commercial mobilization and
"innovation," the story of Fear emphasizes the rhetoric of
preserving something "pure" and "traditional" that is "dying." Both
narratives have compelling rhetorical force, and actually need each
other, in order to move their opposing audiences into action.
However, as Picart shows, the realities behind these rhetorically
framed political parables are more complex than a simple binary.
Hence, the book steers a careful path between hope rather than
unbounded Optimism, and caution, rather than Fear, in exploring how
law functions in and as culture as it contours the landscape of
intellectual property rights, as experienced by indigenous peoples
and minorities. Picart uses, among a variety of tools derived from
law, critical and cultural studies, anthropology and communication,
case studies to illustrate this approach. She tracks the
fascinating stories of the controversies surrounding the ownership
of a Taiwanese folk song; the struggle over control of the
Mapuche's traditional land in Chile against the backdrop of Chile's
drive towards modernization; the collaboration between the Kani
tribe in India and a multinational corporation to patent an
anti-fatigue chemical agent; the drive for respect and recognition
by Australian Aboriginal artists for their visual expressions of
folklore; and the challenges American women of color such as
Josephine Baker and Katherine Dunham faced in relation to the
evolving issues of choreography, improvisation and copyright. The
book also analyzes the cultural conflicts that result from these
encounters between indigenous populations or minorities and
majority groups, reflects upon the ways in which these conflicts
were negotiated or resolved, both nationally and internationally,
and carefully explores proposals to mediate such conflicts.
Picart (English and the humanities, Florida State U.) explores the
evolving cinemyth of the Frankenstein monster in the context of the
relationship between comedic manifestations ( Abbot and Costello
Meet Frankenstein ), horror/science fiction incarnations ( Alien ),
and the oscillating balance
Monsters, Law, Crime, an edited collection composed of essays
written by prominent U.S. and international experts in Law,
Criminology, Sociology, Anthropology, Communication and Film,
constitutes a rigorous attempt to explore fertile interdisciplinary
inquiries into "monsters" and "monster-talk," and law and crime.
"Monsters" may refer to allegorical or symbolic fantastic beings
(as in literature, film, legends, myths, etc.), or actual or real
life monsters, as well as the interplay/ambiguity between the two
general types of "monsters." This edited collection thus explores
and updates contemporary discussions of the emergent and evolving
fronts of monster theory in relation to cutting-edge research on
law and crime, and may be seen as extensions of a Gothic
Criminology, generally construed. Gothic Criminology refers to a
theoretical framework initially developed by Caroline Joan "Kay" S.
Picart, a Philosophy and Film professor turned Attorney and Law
professor, and Cecil Greek, a Sociologist (Picart and Greek 2008).
Succinctly paraphrased, noting the proliferation of Gothic modes of
narration and visualization in American popular culture, academia
and even public policy, Picart and Greek proposed a framework,
which they described as a "Gothic Criminology" to attempt to
analyze the fertile lacunae connecting the "real" and the "reel" in
the flow of Gothic metaphors and narratives that abound around
criminological phenomena that populate not only popular culture but
also academic and public policy discourses.
This cutting-edge edited collection brings together 17 scholarly
essays on two of cinema and television's most enduring and powerful
themes: law and crime. With contributions by many of the most
prominent scholars in law, sociology, criminology, and film,
Framing Law and Crime offers a critical survey of a variety of
genres and media, integrating descriptions of technique with
critical analysis, and incorporating historical and socio-political
critique. The first set of essays brings together accounts of the
history of the Law and Cinema Movement; the groundbreaking genre of
"post-apocalyptic fiction;" and the policy-setting genesis of a
Canadian documentary. The second section of the book turns to the
examination of a range of international or global films, with an
eye to assessing the strengths, frailties, and possible functions
of law, as depicted in fictional cinema. After an international
focus in the second section, the third section focuses on law and
crime in American film and television, inclusive of both fictional
and documentary modes of narration. This section's expansion beyond
film narratives to include television series attempts to broaden
the scope of the edited collection, in terms of media discussed; it
is also a nod to how the big screen, although still a dominant
force in American popular culture, now has to compete, to some
extent, with the small screen, for influence over the collective
American popular cultural imaginary. The fourth section, titled
brings together various chapters that attempt to instantiate how a
"Gothic Criminology" could be useful, as an interpretative
framework in analyzing depictions of law and crime in film and
television. The fifth and final section covers issues of pedagogy,
epistemology, and ethics in relation to moving images of law and
crime. Merging wide-ranging analyses with nuanced scholarly
interpretations, Framing Law and Crime examines key concepts and
showcases original research reflecting the latest interdisciplinary
trends in the scholarship of the moving image. It addresses, not
only scholars, but also fans, and will heighten the appreciation of
connoisseurs and newcomers to these topics alike.
This cutting-edge edited collection brings together 17 scholarly
essays on two of cinema and television's most enduring and powerful
themes: law and crime. With contributions by many of the most
prominent scholars in law, sociology, criminology, and film,
Framing Law and Crime offers a critical survey of a variety of
genres and media, integrating descriptions of technique with
critical analysis, and incorporating historical and socio-political
critique. The first set of essays brings together accounts of the
history of the Law and Cinema Movement; the groundbreaking genre of
"post-apocalyptic fiction;" and the policy-setting genesis of a
Canadian documentary. The second section of the book turns to the
examination of a range of international or global films, with an
eye to assessing the strengths, frailties, and possible functions
of law, as depicted in fictional cinema. After an international
focus in the second section, the third section focuses on law and
crime in American film and television, inclusive of both fictional
and documentary modes of narration. This section's expansion beyond
film narratives to include television series attempts to broaden
the scope of the edited collection, in terms of media discussed; it
is also a nod to how the big screen, although still a dominant
force in American popular culture, now has to compete, to some
extent, with the small screen, for influence over the collective
American popular cultural imaginary. The fourth section, titled
brings together various chapters that attempt to instantiate how a
"Gothic Criminology" could be useful, as an interpretative
framework in analyzing depictions of law and crime in film and
television. The fifth and final section covers issues of pedagogy,
epistemology, and ethics in relation to moving images of law and
crime. Merging wide-ranging analyses with nuanced scholarly
interpretations, Framing Law and Crime examines key concepts and
showcases original research reflecting the latest interdisciplinary
trends in the scholarship of the moving image. It addresses, not
only scholars, but also fans, and will heighten the appreciation of
connoisseurs and newcomers to these topics alike.
Since the publication of Dracula in 1897, Bram Stoker's original
creation has been a source of inspiration for artists, writers, and
filmmakers. From Universal's early black-and-white films and
Hammer's Technicolor representations that followed, iterations of
Dracula have been cemented in mainstream cinema. This anthology
investigates and explores the far larger body of work coming from
sources beyond mainstream cinema reinventing Dracula. Draculas,
Vampires and Other Undead Forms assembles provocative essays that
examine Dracula films and their movement across borders of
nationality, sexuality, ethnicity, gender, and genre since the
1920s. The essays analyze the complexity Dracula embodies outside
the conventional landscape of films with which the vampire is
typically associated. Focusing on Dracula and Dracula-type
characters in film, anime, and literature from predominantly
non-Anglo markets, this anthology offers unique perspectives that
seek to ground depictions and experiences of Dracula within a
larger political, historical, and cultural framework.
Employing a range of approaches to examine how "monster-talk"
pervades not only popular culture but also public policy through
film and other media, this book is a "one-stop shop" of sorts for
students and instructors employing various approaches and media in
the study of "teratologies," or discourses of the monstrous.
The effort to win federal protection for dance in the United States
was a racialized and gendered contest. Picart traces the evolution
of choreographic works from being federally non-copyrightable to
becoming a category potentially copyrightable under the 1976
Copyright Act, specifically examining Loie Fuller, George
Balanchine, and Martha Graham.
The effort to win federal copyright protection for dance
choreography in the United States was a simultaneously racialized
and gendered contest. Copyright and choreography, particularly as
tied with whiteness, have a refractory history. This book examines
the evolution of choreographic works from being federally
non-copyrightable, unless they partook of dramatic or narrative
structures, to becoming a category of works potentially
copyrightable under the 1976 Copyright Act. Crucial to this
evolution is the development of whiteness as status property, both
as an aesthetic and cultural force and a legally accepted and
protected form of property. The choreographic inheritances of Loie
Fuller, George Balanchine, and Martha Graham are particularly
important to map because these constitute crucial sites upon which
negotiations on how to package bodies of both choreographers and
dancers - as racialized, sexualized, nationalized, and classed -
are staged, reflective of larger social, political, and cultural
tensions.
Despite its apparently monolithic definition, "teratology" (from
the Greek word teras, meaning "monster," and the Latin logia, which
is derived from the Greek logos, meaning "a speaking, discourse,
treatise, doctrine, theory, science") seems infinitely malleable,
flourishing in various rhetorical environments. Teratologies are
more than a bestiary: a catalogue of "freaks" designed to celebrate
the "normal." Rather, teratologies illustrate how humor, horror,
fantasy, and the "real" cross-fertilize each other, resulting in
the possibility of new worlds, ethics, and narratives emerging. As
a general anthology of teratologies, this book simply maps what, in
many ways, has already been occurring across several fields, as it
tracks the expansion of this term, creating lacunae that form
connections across multiple interpretive communities. It is a cross
section of how "monster narratives" intersect with "outsider"
positions, from different perspectives - such as those of literary
critics, film critics, criminologists, law professors, historians,
philosophers - and looks into various strategies of destabilizing
normative binaries.
This is a comprehensive sourcebook on the world's most famous
vampire, with more than 700 citations of domestic and international
Dracula films, television programs, documentaries, adult features,
animated works, and video games, as well as nearly a thousand comic
books and stage adaptations. While they vary in length,
significance, quality, genre, moral character, country, and format,
each of the cited works adopts some form of Bram Stoker's original
creation, and Dracula himself, or a recognizable vampiric semblance
of Dracula, appears in each.
The book includes contributions from Dacre Stoker, David J.
Skal, Laura Helen Marks, Dodd Alley, Mitch Frye, Ian Holt, Robert
Eighteen-Bisang, and J. Gordon Melton.
A state of the art presentation of important advances in the field
of digital holography, detailing advances related to fundamentals
of digital holography, in-line holography applied to fluid
mechanics, digital color holography, digital holographic
microscopy, infrared holography, special techniques in full field
vibrometry and inverse problems in digital holography
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Goddie (Paperback)
Robert Picart
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R491
R415
Discovery Miles 4 150
Save R76 (15%)
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Ships in 10 - 15 working days
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Scriptores Rei Rusticae Veteres Latini Cato, Varro, Columella, Palladius, Quibus Nunc Accedit Vegetius De Mulo-medicina Et Gargilii Martialis Fragmentum... Adiectae Notae Virorum Clariss. [popmae, Morgagni, Schwartz, Segneri, Pontederae Integrae... Curant (Hardcover)
Giulio Pontedera, Picart, Kaspar Fritsch
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R1,302
Discovery Miles 13 020
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Ships in 10 - 15 working days
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I have a story to tell, and I want people to listen. But sometimes
I find my voice trapped in my thoughts where only I can hear it. To
combat this problem, I would get in trouble to gain the attention
of others, but not their respect. With this book, I will gain the
readers' attention and hopefully earn their respect. I hope my
story will inspire the readers to be encouraged and learn to
command respect with the gift that God gave them instead of
demanding it out of anger.
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