Why has Asmat art, from a remote and small south-coast West Papuan society, had such a significant and prolonged impact on the world stage? This book explores the way major collections were made and examines the motivations of the collectors, their relationships with those from whom they purchased and the circumstances of the exchange. It also considers the involvement of artists and film-makers, anthropologists, representatives of the civil authorities and missionaries. Asmat artists have maintained their unique appeal through constant stylistic innovation and by engagement with new publics, both locally and internationally,as exemplified by the recent displays of women's weaving alongside the men's carved wooden shields, drums and figures. Despite accelerating social changes, Asmat art continues to thrive as a compelling and transformative Melanesian presence in the global art world. 'Awe-inspiring works of Asmat art loom large in the Metropolitan Museum of Art in New York and in dozens of other great museums around the world. Nick Stanley's engagingly written study provides the best history to date of the making of Asmat art traditions and of their avid acquisition by successive European and north American collectors. Most importantly, the book foregrounds the creativity and imagination of Asmat artists themselves. This is a book that will be welcomed by everyone interested in the arts of the Pacific.' Nicholas Thomas, University of Cambridge
This volume of Making Our Media focuses on the praxis of alternative media, including radio, video, film, and Internet initiatives in South and North America, southern Africa, India, Australia, and Europe. Chapter authors consider the relationship between these media and the people they serve, reevaluate established theoretical frameworks, and present new ones for understanding alternative and citizens' media in light of contemporary local and global realities. While some of the authors critically explore the internal operations of citizen's media, including their gender, race and power dynamics, others shed light on how alternative media interact with different political formations, such as the (nation) state and social movements. Grounded in empirical evidence and theoretical insight, the book takes a critical approach to the roles alternative and citizens' media can play in building inclusive, participatory democracies.
"He felt the scent and the golden glow of the sunset light as intensely as he felt the dead silence which reigned between himself and Hester almost with the effect of a physical presence."
Film: A Critical Introduction provides readers with the skills needed to successfully critique and analyze film and teaches strategies for translating ideas about film into written criticism and analysis. Intricate discussions of the current issues in film theory, from sound production to documentaries, keep readers’ perspectives on film fresh and informed. Part I introduces readers to the importance of film analysis, offering helpful strategies for discerning the way films produce meaning. Part II examines the fundamental elements of film, including narrative form, mise en scÅ ne, cinematography, editing, and sound, and shows how these concepts can be used to interpret films. Part III frames the debates around ideological criticism, national and transnational cinema, and genre and auteur theory that animate contemporary film scholarship.
When his daughter, Amy - a gifted doctor, mother, and wife - collapsed and died from an asymptomatic heart condition, Roger Rosenblatt and his wife, Ginny, left their home on Long Island to move in with their son-in-law, Harris, and their three young grandchildren, six-year-old Jessica, four-year-old Sammy, and one year-old James, known as Bubbies. Long past the years of nappies, homework, and recitals, Roger and Ginny - Boppo and Mimi to the kids - quickly re-accustomed themselves to the world of small children: bedtime stories, talking toys, non-stop questions, and non-sequential thought. Though still reeling from Amy's death, they carried on, reconstructing a family, sustaining one another, and guiding three lively, alert, and tender-hearted children through the pains and confusions of grief. As he marvelled at the strength of his son-in-law, a surgeon, and the tenacity and skill of his wife, a former kindergarten teacher, Roger attended each day to 'the one household duty I have mastered'- preparing the morning toast perfectly to each child's liking. With the wit, heart, precision, and depth of understanding that has characterised his work, Roger Rosenblatt peels back the layers on this most personal of losses to create both a tribute to his late daughter and a testament to familial love. The day Amy died, Harris told Ginny and Roger, 'It's impossible'. Roger's story tells how a family makes the possible of the impossible.
Extra Film Articles
Extra Film Books