|
Showing 1 - 5 of
5 matches in All Departments
Edgar G. Ulmer: Detour on Poverty Row illuminates the work of this
under-appreciated film auteur through 21 new essays penned by a
range of scholars from around the globe. Ulmer, an immigrant to
Hollywood who fell from grace in Tinseltown after only one studio
film, became one of the reigning directors of Poverty Row B-movies.
Structured in four sections, Part I examines various contexts
important to Ulmer's career, such as his work at the Producers
Releasing Corporation (PRC), and his work in exploitation films and
ethnic cinema. Part II analyzes Ulmer's film noirs, featuring an
emphasis on Detour (1945) and Murder Is My Beat (1955). Part III
covers a variety of Ulmer's individual films, ranging from
Bluebeard (1944) and Carnegie Hall (1947) to The Man from Planet X
(1951) and Daughter of Dr. Jekyll (1957). Part IV concludes the
volume with a case study of The Black Cat (1934), offering three
different analyses of Ulmer's landmark horror film.
Edgar G. Ulmer: Detour on Poverty Row illuminates the work of this
under-appreciated film auteur through 21 new essays penned by a
range of scholars from around the globe. Ulmer, an immigrant to
Hollywood who fell from grace in Tinseltown after only one studio
film, became one of the reigning directors of Poverty Row B-movies.
Structured in four sections, Part I examines various contexts
important to Ulmer's career, such as his work at the Producers
Releasing Corporation (PRC), and his work in exploitation films and
ethnic cinema. Part II analyzes Ulmer's film noirs, featuring an
emphasis on Detour (1945) and Murder Is My Beat (1955). Part III
covers a variety of Ulmer's individual films, ranging from
Bluebeard (1944) and Carnegie Hall (1947) to The Man from Planet X
(1951) and Daughter of Dr. Jekyll (1957). Part IV concludes the
volume with a case study of The Black Cat (1934), offering three
different analyses of Ulmer's landmark horror film.
The relationship between economy, finance and society has become
opaque. Quantum leaps in complexity and scale have turned this
deeply interdependent web of relations into an area of
incomprehensible abstraction. And while the economization of life
has come under widespread critique, inquiry into the political
potential of representational praxis is more crucial than ever.
This volume explores ethical, aesthetic and ideological dimensions
of economic representation, redressing essential questions: What
are the roles of mass and new media? How do the arts contribute to
critical discourse on the global techno-economic complex?
Collectively, the contributions bring theoretical debate and
artistic intervention into a rich exchange that includes but also
exceeds the conventions of academic scholarship.
One "apocalyptic" reading of Paul's letter to the Galatians has
been attempted before and is now widely accepted, but that reading
is not based on a thorough engagement with Jewish apocalyptic
traditions of the Second Temple period. In this book, James M.
Scott argues that there is an essential continuity between
Galatians and Paul's Jewish past, and that Paul uses the
apocalyptic Epistle of Enoch (1 Enoch 92-105) as a literary model
for his own letter. Scott first contextualizes the Epistle of Enoch
using the entire Enochic corpus and explores the extensive
similarities (and some differences) between the Enochic tradition
and early Stoicism. Then he turns to deal specifically with Paul's
letter to the Galatians, showing that, despite their obvious
differences, the two apocalyptic letters have some remarkable
features in common as well. This approach to the interpretation of
Galatians fundamentally stands to change the way biblical scholars
understand Paul's letter and the gospel that he preached. Paul is
"within Judaism," if the net for what is included in "Judaism" is
wide enough to encompass the Enochic tradition.
|
You may like...
Queen Of Me
Shania Twain
CD
R195
R175
Discovery Miles 1 750
Higher
Michael Buble
CD
(1)
R172
R154
Discovery Miles 1 540
|