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Don DeLillo after the Millennium: Currents and Currencies examines
all the author's work published in the 21st century: The Body
Artist, Cosmopolis, Falling Man, Point Omega, and Zero K, the plays
Love-Lies-Bleeding and The Word for Snow, and the short stories in
The Angel Esmeralda. What topic doesn't DeLillo tackle?
Cyber-capital and currency markets, ontology and intelligence,
global warming and cryogenics, Don DeLillo continues to ponder the
significance of present cultural currents and to anticipate the
waves of the future. Performance art and ethics, drama and
euthanasia, space studies and the constrictions of time, DeLillo
perspicaciously reads our culture, giving voice to the rhythms of
our vernacular and diction. Rich and resonant, his work is so
multifaceted in its attention that it accommodates a wide variety
of critical approaches while its fine and filigreed prose commends
him to a poetic appreciation as well. Don DeLillo After the
Millennium brings together an international cast of scholars who
examine DeLillo's work from many critical perspectives, exploring
the astonishing output of an author who continues to tell our
stories and show us ourselves.
Don DeLillo after the Millennium: Currents and Currencies examines
all the author's work published in the 21st century: The Body
Artist, Cosmopolis, Falling Man, Point Omega, and Zero K, the plays
Love-Lies-Bleeding and The Word for Snow, and the short stories in
The Angel Esmeralda. What topic doesn't DeLillo tackle?
Cyber-capital and currency markets, ontology and intelligence,
global warming and cryogenics, Don DeLillo continues to ponder the
significance of present cultural currents and to anticipate the
waves of the future. Performance art and ethics, drama and
euthanasia, space studies and the constrictions of time, DeLillo
perspicaciously reads our culture, giving voice to the rhythms of
our vernacular and diction. Rich and resonant, his work is so
multifaceted in its attention that it accommodates a wide variety
of critical approaches while its fine and filigreed prose commends
him to a poetic appreciation as well. Don DeLillo after the
Millennium brings together an international cast of scholars who
examine DeLillo's work from many critical perspectives, exploring
the astonishing output of an author who continues to tell our
stories and show us ourselves.
More than any other major American author, Don DeLillo has examined
the manner in which contemporary American consciousness has been
shaped by the historically unique incursion into daily life of
information, military, and consumer technologies. In DeLillo's
fictions, technological apparatuses are not merely set-pieces in
the characters' environments, nor merely tools to move the plot
along, they are sites of mystery and magic, whirlpools of
space-time, and convex mirrors of identity. Television sets, filmic
images, automobiles, airplanes, telephones, computers, and nuclear
bombs are not simply objects in the world for DeLillo's characters;
they are psychological phenomena that shape the possibilities for
action, influence the nature of perception, and incorporate
themselves into the fabric of memory and identity. DeLillo is a
phenomenologist of the contemporary technoscape and an ecologist of
our new kind of natural habitat. Through a close reading of four
DeLillo novels, Technology and Postmodern Subjectivity in Don
DeLillo's Novels examines the variety of modes in which DeLillo's
fictions illustrate the technologically mediated confluence of his
human subjects and the field of cultural objects in which they
discover themselves. The model of interactionism between human
beings and technological instruments that is implicit in DeLillo's
writing suggests significant applications both to the study of
other contemporary novelists as well as to contemporary cultural
studies.
With his signature bullwhip and fedora, the rousing sounds of his
orchestral anthem, and his eventful explorations into the arcana of
world religions, Indiana Jones--archeologist, adventurer, and
ophidiophobe--has become one of the most recognizable heroes of the
big screen. Since his debut in the 1981 film Raiders of the Lost
Ark, Indiana Jones has gone on to anchor several sequels, and a
fifth film is currently in development. At the same time, the
character has spilled out into multiple multimedia manifestations
and has become a familiar icon within the collective cultural
imagination. Despite the longevity and popularity of the Indiana
Jones franchise, however, it has rarely been the focus of sustained
criticism. In Excavating Indiana Jones, a collection of
international scholars analyzes Indiana Jones tales from a variety
of perspectives, examining the films' representation of history,
cultural politics, and identity, and also tracing the adaptation of
the franchise into comic books, video games, and theme park
attractions.
For thirty years, the twin towers of the World Trade Center soared
above the New York City skyline, eventually becoming one of the
most conspicuous symbolic structures in the world. They appeared in
hundreds of films, from Godspell and Death Wish to Trading Places,
Ghostbusters and The Usual Suspects. The politicians, architects
and engineers who developed the towers sought to imbue them with a
powerful visual presence. The resulting buildings provided
filmmakers with imposing set pieces capable of conveying a range of
moods and associations, from the sublime and triumphal to the
sinister and paranoid.While they stood, they captured the
imagination of the world with their enigmatic symbolism. In their
dramatic destruction, they became icons of a history that is still
being written. Here viewed in the context of popular cinema, the
twin towers are emblematic of how architecture, film and narrative
interact to express cultural aspirations and anxieties.
Lost has received widespread acclaim as one of the most innovative,
intelligent, and influential dramatic series in television history.
Central to Lost's success has been its capacity to evoke audience's
interpretations of its mysteries, undiminished even with the
series' definitive conclusion. This collection of fifteen essays by
critics, academics, and philosophers examines the complete series
from a diverse but interconnected array of perspectives.
Complementary and occasionally conflicting interpretations of the
show's major themes are presented, including the role of time, fate
and determinism, masculinity, parenthood and the threat of
environmental apocalypse.
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Cinema U (Paperback)
Randy Laist, Kip Kline
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R665
Discovery Miles 6 650
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Ships in 10 - 15 working days
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Hyperreality is an Alice-in-Wonderland dimension where copies have
no originals, simulation is more real than reality, and living
dreams undermine the barriers between imagination and objective
experience. The most prominent philosopher of the hyperreal, Jean
Baudrillard, formulated his concept of hyperreality throughout the
1980s, but it was not until the 1990s that the end of the Cold War,
along with the proliferation of new reality-bending technologies,
made hyperreality seem to come true. In the "lost decade" between
the fall of the Berlin Wall and 9/11, the nature of reality itself
became a source of uncertainty, a psychic condition that has been
recognizably recorded by that seismograph of American
consciousness, Hollywood cinema. The auteur cinema of the 1970s
aimed for gritty realism, and the most prominent feature of
Reagan-era cinema was its fantastic unrealism. Clinton-era cinema,
however, is characterized by a prevailing mood of hyperrealism,
communicated in various ways by such benchmark films as JFK, Pulp
Fiction, and The Matrix. The hyperreal cinema of the 1990s
conceives of the movie screen as neither a window on a preexisting
social reality (realism), nor as a wormhole into a fantastic
dream-dimension (escapism), but as an arena in which images and
reality exchange masks, blend into one another, and challenge the
philosophical premises which differentiate them from one another.
Cinema of Simulation: Hyperreal Hollywood in the Long 1990s
provides a guided tour through the anxieties and fantasies,
reciprocally social and cinematic, which characterize the surreal
territory of the hyperreal.
The 1980s is remembered as a time of big hair, synthetic music, and
microwave cookery. It is also remembered as the heyday of
conservative politics, socioeconomic inequality, and moral panics.
It is dichotomously remembered as either a nostalgic age of
innocence or a regressive moral wasteland, depending on who you
ask, and when. But, most of all, it is remembered. In retro fashion
trends, in '80s-based film and television narratives, and through
countless rebooted movies, video games, superheroes, and even
political slogans imploring us to Make America Great Again (Again).
More than merely a historical period, "the '80s" has grown into a
contested myth, ever-evolving through the critical and expressive
lens of popular culture. This book explores the many shapes the
'80s mythos has taken across a diverse array of media. Essays
examine television series such as Stranger Things, Cobra Kai, and
POSE, films such as Dallas Buyers Club, Summer of '84, and
Chocolate Babies, as well as video games, pop music, and toys.
Collectively, these essays explore how representations of the 1980s
influence the way we think about our past, our present, and our
future.
Hyperreality is an Alice-in-Wonderland dimension where copies have
no originals, simulation is more real than reality, and living
dreams undermine the barriers between imagination and objective
experience. The most prominent philosopher of the hyperreal, Jean
Baudrillard, formulated his concept of hyperreality throughout the
1980s, but it was not until the 1990s that the end of the Cold War,
along with the proliferation of new reality-bending technologies,
made hyperreality seem to come true. In the "lost decade" between
the fall of the Berlin Wall and 9/11, the nature of reality itself
became a source of uncertainty, a psychic condition that has been
recognizably recorded by that seismograph of American
consciousness, Hollywood cinema. The auteur cinema of the 1970s
aimed for gritty realism, and the most prominent feature of
Reagan-era cinema was its fantastic unrealism. Clinton-era cinema,
however, is characterized by a prevailing mood of hyperrealism,
communicated in various ways by such benchmark films as "JFK, Pulp
Fiction," and "The Matrix." The hyperreal cinema of the 1990s
conceives of the movie screen as neither a window on a preexisting
social reality (realism), nor as a wormhole into a fantastic
dream-dimension (escapism), but as an arena in which images and
reality exchange masks, blend into one another, and challenge the
philosophical premises which differentiate them from one another.
"Cinema of Simulation: Hyperreal Hollywood in the Long 1990s
"provides a guided tour through the anxieties and fantasies,
reciprocally social and cinematic, which characterize the surreal
territory of the hyperreal.
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