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Reconsidering the dynamics of perceptionUsing cinema to explore the
visual aspects of alterity, Randall Halle analyzes how we become
cognizant of each other and how we perceive and judge another
person in a visual field. Halle draws on insights from philosophy
and recent developments in cognitive and neuroscience to argue that
there is no pure "natural" sight. We always see in a particular
way, from a particular vantage point, and through a specific
apparatus, and Halle shows how human beings have used cinema to
experiment with the apparatus of seeing for over a century. Visual
alterity goes beyond seeing difference to being conscious of how
one sees difference. Investigating the process allows us to move
from mere perception to apperception, or conscious perception.
Innovative and insightful, Visual Alterity merges film theory with
philosophy and cutting-edge science to propose new ways of
perceiving and knowing.
Race and the Cherokee Nation Sovereignty in the Nineteenth Century
Fay A. Yarbrough "This book takes on a significant topic in
American history in a new way. . . . A wonderful contribution to
literatures in the history of marriage, race, and Native American
history."--Ann Marie Plane, University of California, Santa Barba
"Yarbrough makes an important contribution to the study of
relations between American Indians and African-descended people by
showing how slaveholding Indian nations, in the context of their
relations with their slaves in the nineteenth century, developed a
distinctive racial ideology in an effort to restrict citizenship in
their nations and protect Indian sovereignty."--Joanne Pope Melish,
author of "Disowning Slavery: Gradual Emancipation and "Race" in
New England, 1780-1860" "Yarbrough marches to a minefield, crosses
it, and emerges having deftly dismantled and examined the explosive
topics of sex and gender, race an nationality, custom and law among
brown, white, and black people."--"Chronicle of Oklahoma" "We
believe by blood only," said a Cherokee resident of Oklahoma,
speaking to reporters in 2007 after voting in favor of the Cherokee
Nation constitutional amendment limiting its membership. In an
election that made headlines around the world, a majority of
Cherokee voters chose to eject from their tribe the descendants of
the African American freedmen Cherokee Indians had once enslaved.
Because of the unique sovereign status of Indian nations in the
United States, legal membership in an Indian nation can have real
economic benefits. In addition to money, the issues brought forth
in this election have racial and cultural roots going back before
the Civil War. "Race and the Cherokee Nation" examines how leaders
of the Cherokee Nation fostered a racial ideology through the
regulation of interracial marriage. By defining and policing
interracial sex, nineteenth-century Cherokee lawmakers preserved
political sovereignty, delineated Cherokee identity, and
established a social hierarchy. Moreover, Cherokee conceptions of
race and what constituted interracial sex differed from those of
blacks and whites. Moving beyond the usual black/white dichotomy,
historian Fay A. Yarbrough places American Indian voices firmly at
the center of the story, as well as contrasting African American
conceptions and perspectives on interracial sex with those of
Cherokee Indians. For American Indians, nineteenth-century
relationships produced offspring that pushed racial and citizenship
boundaries. Those boundaries continue to have an impact on the way
individuals identify themselves and what legal rights they can
claim today. Fay Yarbrough teaches history at the University of
Oklahoma. 2007 200 pages 6 x 9 7 illus. ISBN 978-0-8122-4056-6
Cloth $59.95s 39.00 World Rights American History, Native American
Studies
Light Motives undertakes a long-overdue critical reassessment of
German popular cinema, challenging the traditional view of German
film history and offering new ways to think about popular cinema in
general. Critics rarely associate popular film with German cinema
despite the international success of such films as Das Boot (1981),
The Never-Ending Story (1984), Run Lola Run (1998), and recent
German comedies, all representing a rich body of work outside the
parameters of high culture. This very success compels the editors
of Light Motives to take an unprecedented look at German popular
film across the historical spectrum and to challenge the tendency
among critics to divvy up German film, like Germans themselves,
into the Good and the Bad. Together the essays reexamine popular
film production along with larger cultural, historical, and
political meanings suggested by the term "popular." Most critical
accounts have focused on the golden era of Weimar film and the New
German Cinema of the 1960s and '70s leaving much of popular film by
the wayside. This volume attributes the division to such sources as
Frankfurt School dictates, Goethe Haus film offerings, and
state-funded film production during the 1970s, which promoted
high-culture art films to broadcast the success of West German
democratization. The essays challenge the traditional shape of
German film history, while offering in-depth analyses of films that
have until now been beyond the pale of critical attention. What
emerges is a "Never-Ending Story" of oft-repeated obsessions,
overlapping generic forms, omnipresent or subtle nods to Hollywood,
and myriad political concerns irreducible to a unified message or
aesthetic form--allbearing witness to the vibrancy of German
culture.
Philosophy in Multiple Voices invites transactional dialogue,
critical imagination, and the desire to travel to enter those
discursive spaces where the love of wisdom gets inflected through
both lived embodiment and situational history. The text raises
significant meta-philosophical questions around the issue of who
constitutes the 'philosophical we' through a delineation and
valorization of multiple philosophical voices-African-American,
Afro-Caribbean, Asian-American, Feminist, Latin-American, Lesbian,
Native-American and Queer-that set forth complex concerns around
canon formation, the relationship between philosophical discursive
configurations and issues of gendered, sexed, racial and ethnic
identities, the dynamic of shifting philosophical historical
trajectories, differential philosophical visions, sensibilities,
and philosophical praxes that are still largely underrepresented
within the institutional confines of 'mainstream' philosophy. The
text encourages philosophical heterogeneity as a value that ought
to be nurtured.
Reconsidering the dynamics of perceptionUsing cinema to explore the
visual aspects of alterity, Randall Halle analyzes how we become
cognizant of each other and how we perceive and judge another
person in a visual field. Halle draws on insights from philosophy
and recent developments in cognitive and neuroscience to argue that
there is no pure "natural" sight. We always see in a particular
way, from a particular vantage point, and through a specific
apparatus, and Halle shows how human beings have used cinema to
experiment with the apparatus of seeing for over a century. Visual
alterity goes beyond seeing difference to being conscious of how
one sees difference. Investigating the process allows us to move
from mere perception to apperception, or conscious perception.
Innovative and insightful, Visual Alterity merges film theory with
philosophy and cutting-edge science to propose new ways of
perceiving and knowing.
Philosophy in Multiple Voices invites transactional dialogue,
critical imagination, and the desire to travel to enter those
discursive spaces where the love of wisdom gets inflected through
both lived embodiment and situational history. The text raises
significant meta-philosophical questions around the issue of who
constitutes the "philosophical we" through a delineation and
valorization of multiple philosophical voices-African-American,
Afro-Caribbean, Asian-American, Feminist, Latin-American, Lesbian,
Native-American and Queer-that set forth complex concerns around
canon formation, the relationship between philosophical discursive
configurations and issues of gendered, sexed, racial and ethnic
identities, the dynamic of shifting philosophical historical
trajectories, differential philosophical visions, sensibilities,
and philosophical praxes that are still largely underrepresented
within the institutional confines of "mainstream" philosophy. The
text encourages philosophical heterogeneity as a value that ought
to be nurtured.
In this innovative study, German and film studies scholar Randall
Halle advances the concept of "interzones"--geographical and
ideational spaces of transit, interaction, transformation, and
contested diversity--as a mechanism for analyzing European cinema.
He focuses especially on films about borders, borderlands, and
cultural zones as he traces the development of interzones from the
inception of central European cinema to the avant-garde films of
today. Throughout, he shows how cinema both reflects and engenders
interzones that explore the important questions of Europe's social
order: imperialism and nation-building in the late nineteenth and
early twentieth centuries; "first contact" between former
adversaries (such as East and West Germany) following World War II
and the Cold War; and migration, neo-colonialism, and cultural
imperialism in the twenty-first century.
Ultimately, Halle argues that today's cinema both produces and
reflects imaginative communities. He demonstrates how, rather than
simply erasing boundaries, the European Union instead fosters a
network of cultural interzones that encourage cinematic exploration
of the new Europe's processes and limits of connectivity,
tolerance, and cooperation.
In this innovative study, German and film studies scholar Randall
Halle advances the concept of "interzones"--geographical and
ideational spaces of transit, interaction, transformation, and
contested diversity--as a mechanism for analyzing European cinema.
He focuses especially on films about borders, borderlands, and
cultural zones as he traces the development of interzones from the
inception of central European cinema to the avant-garde films of
today. Throughout, he shows how cinema both reflects and engenders
interzones that explore the important questions of Europe's social
order: imperialism and nation-building in the late nineteenth and
early twentieth centuries; "first contact" between former
adversaries (such as East and West Germany) following World War II
and the Cold War; and migration, neo-colonialism, and cultural
imperialism in the twenty-first century.
Ultimately, Halle argues that today's cinema both produces and
reflects imaginative communities. He demonstrates how, rather than
simply erasing boundaries, the European Union instead fosters a
network of cultural interzones that encourage cinematic exploration
of the new Europe's processes and limits of connectivity,
tolerance, and cooperation.
What is the work of film in the age of transnational production? To
answer that question, Randall Halle focuses on the film industry of
Germany, one of Europe's largest film markets and one of the
world's largest film-producing nations. In the 1990s Germany
experienced an extreme transition from a state-subsidized mode of
film production that was free of anxious concerns about profit and
audience entertainment to a mode dominated by private interest and
big capital. At the same time, the European Union began actively
drawing together the national markets of Germany and other European
nations, sublating their individual significances into a
synergistic whole. This book studies these changes broadly, but
also focuses on the transformations in their particular national
context. It balances film politics and film aesthetics, tracing
transformations in financing along with analyses of particular
films to describe the effects on the film object itself. Halle
concludes that we witness currently the emergence of a new
transnational aesthetic, a fundamental shift in cultural production
with ramifications for communal identifications, state cohesion,
and national economies.
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