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1
Grgic, Ana. Early Cinema, Modernity and Visual Culture. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728300.
Повний текст джерелаАнотація:
At the end of the nineteenth century, the Balkans were animated by cultural movements and socio-political turmoil with the onset of the collapse of the empires. Around the same period, the proliferation of print media and the arrival of moving images gradually transformed urban life, and played an important role in the creation of national and regional cultures. Based on archival research that explores previously overlooked footage and early press materials, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. This book investigates how the unique geopolitical positioning of the Balkan space and the multicultural identity of its communities influenced and shaped visual culture and the development of early cinema until World War I. It highlights how early moving images and foreign film productions contributed to the construction of Balkanist and semi-colonial discourses. Building on approaches such as ‘new cinema history’, ‘vernacular modernity’ and ‘polycentric multiculturalism’ to counter Eurocentric modernity paradigms and to reframe hierarchical relations between centres and peripheries, this monograph adopts an alternative methodology for interstitial spaces. Using the notion of the haptic, it examines the relationship between the new medium and regional visual culture. By doing so, it establishes new connections between moving image artefacts and print media, early film practitioners and intellectuals, the socio-cultural context and cultural responses to the new visual medium in the Balkan region.
2
Siewert, Senta. Performing Moving Images. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.
Повний текст джерелаАнотація:
Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.
3
Hellemans, Babette. Understanding Culture. Translated by Gioia Marini. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089649911.
Повний текст джерелаАнотація:
This pioneering textbook explores the theoretical background of cultural variety, both in past and present. How is it possible to study 'culture' when the topic covers the arts, literature, movies, history, sociology, anthropology and gender studies? Understanding Culture examines the evolution of a concept with varying meanings depending on changing norms. Offering a long-duration analysis of the relationship between culture and nature, this book looks at the origins of studying culture from an international perspective. Using examples from the several scholarly traditions in the practice of studying culture, Understanding Culture is a key introduction to the area. It identifies the history of interpreting culture as a meeting point between the long-standing historical investigation of 'humanism' and 'postmodernism' and is a comprehensive resource for those who wish to further their engagement with culture as both a historical and contemporary phenomenon.
4
Magnaghi, Alberto, and Sara Giacomozzi, eds. Un fiume per il territorio. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-6453-033-8.
Повний текст джерелаАнотація:
This book illustrates the study carried out to define the project guidelines for the river park of the Arno and its tributaries the Pesa and the Elsa in the Empoli area, and has been produced by liaison between the territorial Planning Department and the Municipalities of the Empoli district. The integrated analysis of local resources scheduled, on the one hand the identification of the criticalities of the territorial system, and on the other the conscious and distinctly interpretational representation of the local cultural bedrock. The definition of scenarios for the entire territory has made it possible to demonstrate the outcomes of complex dynamics in a synthetic manner, moving on to the individual integrated projects and specific sectorial policies. It is precisely this recourse to scenarios, seen as the embodiment of a phase of project sharing and definition, that is the innovative feature of the «River Contract» proposed as a tool for the management and implementation of the plan.
5
Petho, Ágnes, ed. Caught In-Between. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474435499.001.0001.
Повний текст джерелаАнотація:
This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern Bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina, and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. Through different theoretical approaches and thematic focuses, the book attempts to contribute to the understanding of intermedial phenomena in contemporary cinema as a whole by mapping meaningful areas of in-betweenness including the intermedial and interart relations in-between cinema, music, theatre, photography, painting, sculpture, literature, language and the new, digital technologies of the moving image.
6
Herdin, Thomas, Maria Faust, and Guo-Ming Chen, eds. De-Westernizing Visual Communication and Cultures. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748906933.
Повний текст джерелаАнотація:
This edited volume gives voice to pluralised avenues from visual communication and cultural studies regarding the Global South and beyond, including examples from China, India, Cambodia, Brazil, Mexico and numerous other countries. Defining visual communication and culture as an umbrella term that encompasses imagery studies, the moving image and non-verbal visual communication, the first three chapters of the book describe de-Westernisation discourse as a way to strengthen emic research and the Global South as both a geographical concept and, even more so, a category of diversity and pluralism. The subsequent regional case study-based chapters draw on various emic theories and methodologies and find a complex arrangement of visuality between sociocultural and sociopolitical practices and institutions. This book targets a wide range of scholars: academics with expertise in (regional) visual studies as well as researchers, students and practitioners working on the Global South and de-Westernisation. With contributions by Jan Bajec, Sarah Corona Berkin, Ivana Beveridge, Birgit Breninger, Guo-Ming Chen, Uttaran Dutta, Maria Amália Vargas Façanha, Maria Faust, Hiroko Hara, Thomas Herdin, Thomas Kaltenbacher, Fan Liang, Xin Lu, C.S.H.N.Murthy, Ana Karina de Oliveira Nascimento, Simeona Petkova, Radmila Radojevic, Renata Wojtczak
7
Kim, Lee Su, Thang Siew Ming, and Lee King Siong, eds. Border crossings: Moving between languages & cultural frameworks. Subang Jaya, Selangor, Malaysia: Pelanduk Publications, 2007.
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8
Minna, Ruckenstein, and Karttunen Marie-Louise, eds. On foreign ground: Moving between countries and categories. Helsinki: Finnish Literature Society, 2007.
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9
Boon, Timothy. Medical Film and Television: An Alternative Path to the Cultures of Biomedicine. Edited by Mark Jackson. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199546497.013.0034.
Повний текст джерелаАнотація:
This article is concerned with the triangular territory between biomedicine, relevant moving image media production, and lay people — sometimes cinematic subjects, sometimes patients, and sometimes audiences. The examples quoted — mainly British — arise from the period stretching from the late nineteenth century up to the 1960s. The significant costs and effort involved in producing medical films and programmes make their existence in certain times and places particularly interesting evidence for the terrain of biomedicine in the past. The three modes of medical film and television are discussed and they stand for different aspects of biomedicine. This article provides an understanding of how biomedicine came to be made and used and gives access to the politics and social attitudes of participants in interesting ways. The coverage of each mode of film-making is concentrated in the decade of its emergence.
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Ruse, Michael. Moving Forward. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190867577.003.0012.
Повний текст джерелаАнотація:
The Augustinian vision of humankind, on which so much Christian thinking about war is based, is false. Thanks to Darwinian evolutionary biology we know there was no original couple, Adam and Eve; there was no eating of the apple; there is no original sin. We are not innately depraved in this way. Morbid fatalism is inappropriate. The killer-ape vision of humankind, on which so much Darwinian thinking about war is based, is equally false. Thanks to updated Darwinian evolutionary biology, we know that we did not evolve in the violent ways often presumed, and that in major respects we are designed to avoid war. Culture, particularly agriculture, changed much of that and war became common. Changing this is not to go against our nature. Naïve optimism is no more in place. There is hope of more constructive engagement between Christians and Darwinians. On the Christian side, there are alternative theologies to Augustinian Atonement theology, notable Incarnational theology, not dependent on a literal Adam and Eve. On the Darwinian side, there are fresh empirical findings and interpretations, with truer understandings of human history and nature. Perhaps now, together, we can move forward the debate on the nature and causes and possible ending of human warfare.
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Firebrace, William. Zickzack. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/14431.001.0001.
Повний текст джерелаАнотація:
Zigzagging through six locations on the edges of the German-speaking world, exploring them through politics, architecture, literature, film, art, music, food, and history. “Zickzack” is the German word for “zigzag”: hopping around, moving back and forth, never following a straight line, avoiding the monotony of one thing following another. Zickzack is William Firebrace's zigzagging exploration of six places on the edges of the German-speaking world. Deploying essays, narration, conversations, descriptions, and lists, Firebrace celebrates locations on defined and undefined borders, where cultures, languages, and histories mix. In his nonlinear wandering, he touches on ethnicity, topography, history, film, literature, myth, languages, and gastronomy. These locales are not the famous cities of Berlin, Vienna, and Zurich, but areas that straddle countries, geographies, and influences. Two are within Germany itself, one lies on (and over) the border with Poland, and three were once within the loose German cultural zone but now belong to other countries. Firebrace explores Strasbourg, capital of Alsace and part of a long-running territorial dispute between France and Germany; Königsberg, which spent some of the twentieth century as Kaliningrad; and Görlitz and Zgorcelec, twin cities on either side of a river. He plays hopscotch with churches in Backstein and takes a train trip past cities with double names—Sterzing-Vipiteno, Brixen-Bressanone, Klausen-Chiusa, signs of the double culture, where everything happens twice but in a slightly different way. In the zigzags of the German-speaking world, the original culture sometimes survives, sometimes is deliberately destroyed, sometimes merges with other cultures, and often, if submerged, resurfaces in a different form.
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Lau, Chun Kwok. Moving back and forth between Hong Kong and Toronto: A narrative inquiry into a family's cultural and educational experiences. 2004.
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13
Park, Robert, and S. Brooke Milne. Pre-Dorset Culture. Edited by Max Friesen and Owen Mason. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199766956.013.39.
Повний текст джерелаАнотація:
This chapter summarizes our current understanding of the widespread and diverse Pre-Dorset culture, known from the central and eastern parts of the Canadian Arctic between 4500 and 2700 B.P. The Pre-Dorset were mobile foragers, moving across the landscape to exploit seasonally available land and sea mammals in different locales, although the extent of their movements varied considerably. The lithic component of their technology has been more intensively studied than the organic component due to differential preservation; it too is characterized by considerable variability. The chapter summarizes the finds from several sites and explores the difficulty in defining Pre-Dorset as a single cohesive entity due both to its history of research and its enormous geographic extent.
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Tweedie, James. Moving Pictures, Still Lives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.001.0001.
Повний текст джерелаАнотація:
Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century, exploring the work of artists and philosophers who complicated the usual association between the past and tradition or the future and modernity. The book retraces the “archaeomodern turn” in media and theory that viewed the past as a repository of abandoned but potentially transformative modern experiments. Three theoretical chapters consider key figuresWalter Benjamin, Gilles Deleuze, and Serge Daney—who grappled with the late twentieth century’s characteristic concerns, including history, memory, and belatedness. It reframes this theoretical work on film as a mourning play for revolutions past and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Like Daney, the book emphasizes the value of looking at cinema and the century in the “rear—view mirror,” at the aging of a quintessentially modern art like film, and at the phantoms that remain after the passage into the era of new media. The second part of the manuscript, titled “The Cinema of Painters,” is structured around a series of interactions among media, filmmakers, and national traditions. It examines late twentieth—century filmmakers who systematically adopt strategies normally associated with other visual media or art forms, especially painting. Focusing on Alain Cavalier, Terence Davies, Jean—Luc Godard, Peter Greenaway, Derek Jarman, and AgnèVarda, the book concentrates on films that fill the frame with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes.
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Bethke, Brandi, and Amanda Burtt, eds. Dogs. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066363.001.0001.
Повний текст джерелаАнотація:
The relationship between humans and dogs has garnered considerable attention within archaeological research around the world. Investigations into the lived experiences of domestic dogs have proven to be an intellectually productive avenue for better understanding humanity in the past. This book examines the human-canine connection by moving beyond asking when, why, or how the dog was domesticated. While these questions are fundamental, beyond them lies a rich and textured history of humans maintaining a bond with another species through cooperation and companionship over thousands of years. Diverse techniques and theoretical approaches are used by authors in this volume to investigate the many ways dogs were conceptualized by their human counterparts in terms of both their value and social standing within a variety of human cultures across space and time. In this way, this book contributes a better understanding of the human-canine bond while also participating in broader anthropological discussions about how human interactions with domesticated animals shape their practices and worldviews.
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Vosen Callens, Melissa. Ode to Gen X. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832412.001.0001.
Повний текст джерелаАнотація:
Even for the casual viewer, the Netflix series Stranger Things will likely feel familiar, reminiscent of popular 1980s coming-of-age movies. While Stranger Things and these classic 1980s films are all tales of childhood friendship and shared adventures, they are also narratives that reflect and shape the burgeoning cynicism of the 1980s. Throughout Ode to X: Institutional Cynicism in “Stranger Things” and 1980s Film, Melissa Vosen Callens explores the parallels between iconic 1980s films featuring children and teenagers and the first three seasons of Stranger Things, moving beyond the 1980s Easter eggs to a common underlying narrative: Generation X’s (Gen X) growing distrust in American institutions. Throughout, Vosen Callens demonstrates how Stranger Things draws on popular 1980s popular culture to pay tribute to Gen X’s evolving outlook on three key and interwoven American institutions: family, economy, and government.
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Romanowski, William D. English Cinema and the Bible. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.1.
Повний текст джерелаАнотація:
As prop, subject, quotation, or theme, the Bible appears both explicitly and implicitly in countless movies. Arranged to provide some historical context while considering films from the silent era to the present, this account considers significant films as part of an ongoing struggle between two dynamic institutions—religion and cinema—over cultural power and the function of entertainment. The tension between commercial and religious values is crucial to understanding the production and reception of Bible-related films and surrounding discourse. More than explicitly Bible-based fare, movies that fuse biblical motifs with American ideals and assumptions demonstrate the significance of the Bible and cinema as an expression of American culture.
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Jones, Kevin M. The Dangers of Poetry. Stanford University Press, 2020. http://dx.doi.org/10.11126/stanford/9781503613393.001.0001.
Повний текст джерелаАнотація:
Poetry has long dominated the cultural landscape of modern Iraq, simultaneously representing the literary pinnacle of high culture and giving voice to the popular discourses of mass culture. As the favored genre of culture expression for religious clerics, nationalist politicians, leftist dissidents, and avant-garde intellectuals, poetry critically shaped the social, political, and cultural debates that consumed the Iraqi public sphere in the twentieth century. The popularity of poetry in modern Iraq, however, made it a dangerous practice that carried serious political consequences and grave risks to dissident poets. The Dangers of Poetry is the first book to narrate the social history of poetry in the modern Middle East. Moving beyond the analysis of poems as literary and intellectual texts, Kevin Jones shows how poems functioned as social acts that critically shaped the cultural politics of revolutionary Iraq. He narrates the history of three generations of Iraqi poets who navigated the fraught relationship between culture and politics in pursuit of their own ambitions and agendas. Through this historical analysis of thousands of poems published in newspapers, recited in popular demonstrations, and disseminated in secret whispers, this book reveals the overlooked contribution of these poets to the spirit of rebellion in modern Iraq.
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Chodat, Robert. Afterword. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682156.003.0007.
Повний текст джерелаАнотація:
At least four things could be taken away from the preceding chapters. First, the nominalism that has stood behind so much of our culture’s scientific advances is not restricted to science alone: it has marked literary and artistic culture as well. Second, such nominalism has been a cause both for celebration and for condemnation, but the postwar sages that this book has considered have a more ambivalent response—an ambivalence manifest in their effort to negotiate the narrative and the discursive. Third, in pursuing this reflective composition, the authors here anticipate certain important trends in contemporary philosophy and literary studies. Yet—fourth—this reflective composition also highlights difficulties that we as scholars do not often recognize. In moving so insistently between the discursive and the literary, the postwar sage is able to display the fissures that such formal and intellectual movements can generate.
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Kahn, Jennifer G. Colonization, Settlement, and Process in Central Eastern Polynesia. Edited by Ethan E. Cochrane and Terry L. Hunt. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199925070.013.020.
Повний текст джерелаАнотація:
This chapter explores the long-term processes whereby settlers moving into Central Eastern Polynesia (CEP) adapted to new island environments and social landscapes. Over a thousand-year period, CEP societies instigated environmental change and subsistence intensification, in addition to developing localized styles of material culture and affecting great change in their sociopolitical complexity. In comparing the cultural sequences from three CEP archipelagoes (Society Islands, Marquesas Islands, Austral Islands), the chapter demonstrates shared patterns in demographic change and shifts in subsistence and exchange, while at the same time highlighting inter-archipelago variation in terms of pathways to emerging elite power. Trends in CEP regional variation provide broad support for models positing a relationship between the evolution of social complexity in CEP chiefdoms, and the effects of island size/age and the availability of natural resources.
21
Erigha, Maryann. The Hollywood Jim Crow. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479886647.001.0001.
Повний текст джерелаАнотація:
The Jim Crow era of outright racism seemingly ended decades ago, yet the major American film industry—Hollywood—is waist deep in racial politics. Jim Crow Hollywood shows how Hollywood insiders consider race when making decisions about moviemaking. Movies by and about white Americans are said to be worthy investments, while movies by and about Black Americans are said to be risky investments. This way of thinking has profound effects on the way movies and people move through the Hollywood system—shaping their production budgets, determining who directs lucrative tent pole blockbuster franchise movies, and creating stigma around race and moviemaking. Quotes from film directors, statistics on over a thousand movies, and emails between Hollywood insiders reveal that race is back in the forefront regarding how decision-makers in American culture institutions rationalize inequality. Except now understandings about race are mixed with talk about economic investments and cultural preferences, making racial inequality more palatable to the everyday observer and further entrenching racial divisions that counteract post-Civil rights narratives of racial progress.
22
Wagner, Jon Nelson, and Tracy Biga MacLean. Television at the Movies. Inc, 2008. http://dx.doi.org/10.5040/9798765100684.
Повний текст джерелаАнотація:
The overview of television criticism, which this book provides, comes appropriately at a moment of change. Television is becoming dramatically different as a result of new and developing technologies such as cable, HDTV, satellite transmission and broadband distributions. By concentrating on the still-dominant notion of television, what the authors call "Classical Network Television," they argue that it is as important to understand this model as it is to understand Classical Hollywood Cinema. The co-authors have a unique approach to the study of television, viewing its history and reception not only through important articles about the medium, but also through analyzing how Hollywood auteur cinema has commented on television over the decades, in films such as Tootsie, Network, The Last Picture Show, A Face in the Crowd, Rollerball, The King of Comedy and others. Not only does this reflect the pervasive use of cinema theory to discuss television, it also helps to emphasize the importance of clarifying the distinctions between the criticisms of the two media. Television at the Movies argues that the study of television is a crucial aspect of understanding our recent and contemporary culture, and it provides an illuminating point of entry for students and researchers in the field.
23
Cutting, James E. Movies on Our Minds. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197567777.001.0001.
Повний текст джерелаАнотація:
Why do we enjoy popular movies? This book explores perceptual, cognitive, and emotional reasons for our engagement. It considers effects of camera lenses and the layout of images. It outlines the types of transitions between shots, and it traces their historical functions and changes. It classifies different kinds of shots and the changes in them across a century. It explains the arcs of scenes and how they fit into the larger structure of sequences, and then it explores scene- and sequence-like units that have become increasingly prevalent in recent years. It then breaks movies into larger, roughly half-hour parts and provides psychological evidence for them. Finally, it explores the rhythms of whole movies, first observing the flow of physical changes—shot durations, luminance, motion, and clutter—as it has developed over time, and then how cinematic polyrhythms have come to match aspects of those in the human body. Overall, this book focuses on how the narration, the manner in which the story is told, has come to reinforce the structure of the narrative, the story proper. It uses several hundred popular movies released over a century and embeds its exploration in discussions of evolution, culture, and technological change. The changes in movies have contributed to viewers’ engagement by sustaining attention, promoting understanding of the narrative, heightening emotional commitment, and fostering their felt presence in the story. Examples of cinematic effects in particular movies are given at every turn.
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Missero, Dalila. Women, Feminism and Italian Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463249.001.0001.
Повний текст джерелаАнотація:
Italian cinema experienced its peak of domestic and international popularity in the years between the ‘economic miracle’ of the late 1950s and the social and political turmoil of the 1970s. But how did the growing development of the feminist movement in this period impact on Italian film culture? And what role did that film culture play in women’s lives? This book explores the multiple intersections between feminism and Italian cinema from the perspective of women’s everyday lives and relationship with the medium. Drawing from a feminist approach to Gramscian cultural theory, the book builds an archival counter-history of Italian cinema in which women took part as movie-goers, activists and practitioners. By doing so, it reconstructs the many aspects of a collective historical agency that challenged cinema’s patriarchal structures and strategies of invisibilisation.
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Sommer, Tim. Carlyle, Emerson and the Transatlantic Uses of Authority. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491945.001.0001.
Повний текст джерелаАнотація:
This book examines the transatlantic writings and professional careers of Thomas Carlyle and Ralph Waldo Emerson. Building on recent research in literary studies, book history and cultural sociology, it explores how a range of different forms of authority – literary, cultural, political, legal – impacted on Anglo-American writing, publishing and lecturing. The book retraces nineteenth-century debates about race and nationhood, analyses the relationship between cultural nationalism and literary historiography and sheds light on Carlyle’s and Emerson’s professional identities as publishing authors and lecturing celebrities on both sides of the Atlantic. It reads canonical texts in conjunction with less familiar sources such as book paratexts, lecture manuscripts and periodical writing to re-evaluate two of the period’s key authors. Situating textual production at the intersection of institutional spheres and professional networks, Carlyle, Emerson and the Transatlantic Uses of Authority sheds light on intellectual and material exchanges between Victorian and antebellum literature and culture. The book’s first part focuses on discourses of ethnic identity and constructions of literary history; part two examines Carlyle’s and Emerson’s engagement with the mid-century transatlantic print market; part three discusses their careers as lecturing intellectuals. Bringing together these subjects and moving into the latter half of the century, the book’s epilogue considers the impact of the American Civil War on transatlantic literary relations and explores Carlyle’s and Emerson’s posthumous canonisation on both sides of the Atlantic.
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Cove, Patricia. Italian Politics and Nineteenth-Century British Literature and Culture. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447249.001.0001.
Повний текст джерелаАнотація:
The nineteenth-century Italian Risorgimento, or ‘resurgence’, re-drew Europe’s map to create a new nation-state: Italy. Italian Politics and Nineteenth-Century British Literature and Culture argues that the Risorgimento radically shaped nineteenth-century British political, literary and cultural landscapes. Crossing borders, political divides and genres, this study examines the intersections of literary works by Mary Shelley, Lady Morgan (Sydney Owenson), Giovanni Ruffini, Wilkie Collins, Elizabeth Barrett Browning and others with journalism, parliamentary records and pamphlets, to establish Britain’s imaginative investment in this seismic geopolitical realignment. This book explores four political focal points of British engagement with Italian unification, moving between two crucial turning points that shaped Europe’s geopolitical map, the 1815 Congress of Vienna and 1861 creation of the Kingdom of Italy, to excavate the unsettling fusion of political optimism and disaffection produced through the collision of British and Italian politics and culture. British and Anglo-Italian responses to the Risorgimento reveal a complicated, decades-long print contest that played out across high literary modes, pamphlets and propaganda, memoirs and travelogues, parliamentary debates, journalism and emerging genres like sensation fiction. This study argues that forging a new state demands both making and unmaking; as the Risorgimento re-mapped Europe’s geopolitical reality, it also reframed how the British saw themselves, their politics and their place within Europe. These chapters demonstrate that the nation-building enterprise of Risorgimento culture was a participatory, international field crossing borders, print forms, political parties and literary genres, which played an invigorating role for British political discourse and print culture.
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Easterbrooks, Susan R. Conceptualization, Development, and Application of Research in Deaf Education. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190455651.003.0001.
Повний текст джерелаАнотація:
Many have referred to practices in deaf education as having their basis in beliefs and attitudes rather than evidence and science; misunderstandings between the culture of the researcher and the culture of the practitioner result in misperceptions of the intentions from both sides. The purpose of this chapter is to identify how a good idea makes it from a belief in a practice to scientific validation of its effectiveness. The available research designs are legion, and all have their purposes. This chapter describes the place of the different designs on the path from a belief to an evidence-based practice and uses examples from the existing evidence base to demonstrate how they fit in the overall scheme of moving a good idea into the evidence base.
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Eisler, Riane, and Douglas P. Fry. Nurturing Our Humanity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190935726.001.0001.
Повний текст джерелаАнотація:
Nurturing Our Humanity sheds new light on our personal and social options in today’s world, showing how we can build societies that support our great human capacities for consciousness, caring, and creativity. It brings together findings—largely overlooked—from the natural and social sciences debunking the popular idea that we are hardwired for selfishness, war, rape, and greed. Its groundbreaking approach reveals connections between disturbing trends like climate change denial and regressions to strongman rule. Moving past right versus left, religious versus secular, Eastern versus Western, and other familiar categories that do not include our formative parent-child and gender relations, it looks at where societies fall on the partnership-domination scale. On one end is the domination system that ranks man over man, man over woman, race over race, and humans over nature. On the other end is the more peaceful, egalitarian, gender-balanced, and sustainable partnership system. Nurturing Our Humanity explores how behaviors, values, and socioeconomic institutions develop differently in these two environments, documents how this affects nothing less than how our brains develop, examines cultures from this new perspective (including societies that for millennia oriented toward partnership), and proposes actions supporting the contemporary movement in this more life-sustaining and enhancing direction. It shows how through today’s ever more fearful, frenzied, and greed-driven technologies of destruction and exploitation, the domination system may lead us to an evolutionary dead end. However, a more equitable and sustainable way of life is biologically possible and culturally attainable: we can change our course.
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Bagnall, Kate, and Julia T. Martínez, eds. Locating Chinese Women. Hong Kong University Press, 2021. http://dx.doi.org/10.5790/hongkong/9789888528615.001.0001.
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This ground-breaking edited collection draws together Australian historical scholarship on Chinese women, their gendered migrations, and their mobile lives between China and Australia. It considers different aspects of women’s lives, both as individuals and as the wives and daughters of immigrant men. While the number of Chinese women in Australia before 1950 was relatively small, their presence was significant and often subject to public scrutiny. Moving beyond traditional representations of women as hidden and silent, this book demonstrates that Chinese Australian women in the twentieth century expressed themselves in the public eye, whether through writings, in photographs, or in political and cultural life. Their remarkable stories are often inspiring and sometimes tragic and serve to demonstrate the complexities of navigating female lives in the face of racial politics and imposed categories of gender, culture, and class. Historians of transnational Chinese migration have come to recognize Australia as a crucial site within the ‘Cantonese Pacific’, and this collection provides a new layer of gendered comparison, connecting women’s experiences in Australia with those in Canada, the United States, and New Zealand.
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Klaess, John. Breaks in the Air. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023500.
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In Breaks in the Air John Klaess tells the story of rap’s emergence on New York City’s airwaves by examining how artists and broadcasters adapted hip hop’s performance culture to radio. Initially, artists and DJs brought their live practice to radio by buying time on low-bandwidth community stations and building new communities around their shows. Later, stations owned by New York’s African American elite, such as WBLS, reluctantly began airing rap even as they pursued a sound rooted in respectability, urban sophistication, and polish. At the same time, large commercial stations like WRKS programmed rap once it became clear that the music attracted a demographic that was valuable to advertisers. Moving between intimate portraits of single radio shows and broader examinations of the legal, financial, cultural, and political forces that indelibly shaped the sound of rap radio, Klaess shows how early rap radio provides a lens through which to better understand the development of rap music as well as the intertwined histories of sounds, institutions, communities, and legal formations that converged in the post-Civil Rights era.
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Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0031.
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Part V explores the relationship between the dramatic history of the twentieth century and the transformations of Russian literary culture and poetics, arguing that the story is one of unexpected continuities as much as rupture. The Part outlines the development of Russian modernism and the avant-garde in the Silver Age (1890s–1917), moving on to the avant-garde poetics and institutions reinvented in late Soviet (1960s–early 1980s), and treating underground and post-Soviet literature (since 1991), as well as the émigré literature of Russia Abroad. Émigré and Soviet literature are shown to follow some similar patterns and themes, just as official and underground literature alike explore ways to represent the century’s catastrophes, and to test the responsibilities of the intelligentsia. The desire to break with the past emerges as a theme, as does a struggle over forms of cultural continuity. Women writers play key roles across multiple time periods, locales, and aesthetic forms. Part V analyzes the workings of political and aesthetic censorship during the domination of Socialist Realism, and it explores poetry as a discourse of subjectivity. It includes attention to utopian/dystopian and national narratives, and ends with an account of the intelligentsia’s cultural and historical self-identification.
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Beeston, Alix. In and Out of Sight. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.001.0001.
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This book reappraises the connections between modernist writing and photography in the light of new work in visual culture studies that emphasizes the interplay between still and moving images. Arguing for the importance of photography to the work of four major modernist authors—Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald—it proposes a new theory of composite literary form in the first half of the twentieth century. Segmented and reiterative, composite modernist writing is shaped by the figure of the woman-in-series, whose appearances and disappearances map its connective and disconnective structure. Understood in relation to the syntax of visual spacing in serial photography, the formal interstices that define modernist writing emerge as textual sites in which the dominant social and political order of modernity is negotiated and reshaped. These gaps signify both as marks of trauma, the wounds of representation according to typologies of race, gender, and class, and as a means for evading or defending against this trauma: a zone of withdrawal and recalcitrance for female characters. Moving in and out of sight, from presence to absence and back again, the woman-in-series in modernist writing destabilizes oppositions of power and vulnerability as they relate to the interactions of subjects and objects in the representational realm.
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Balboni, Michael J., and Tracy A. Balboni. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780199325764.003.0001.
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A spiritual sickness lies over American medicine. As an introduction to Hostility to Hospitality, this chapter depicts the sickness as a growing hostility within the patient–clinician relationship. Forms of this hostility are revealed by three paintings completed around the turn of the twentieth century that depict a depersonalizing relationship between patients and clinicians. The book’s motivation is to describe why spiritual care is avoided or neglected by clinicians within the context of serious illness and then to consider the large-scale cultural consequences of this divorce between medicine and spirituality/religion. In moving from empirical and sociological description to theological analysis and concluding with public policy considerations, the chapter proposes a new partnership model for medicine and spiritual traditions.
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Jones, Stephen H., Tom Kaden, and Rebecca Catto, eds. Science, Belief and Society. Policy Press, 2019. http://dx.doi.org/10.1332/policypress/9781529206944.001.0001.
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The relationship between science and belief has been a prominent subject of public debate for many years, one that has relevance to everything from science communication, health and education to immigration and national values. Yet, sociological analysis of these subjects remains surprisingly scarce. This wide-ranging book critically reviews the ways in which religious and nonreligious belief systems interact with scientific theories and practices. Contributors explore how, for some secularists, ‘science’ forms an important part of social identity. Others examine how many contemporary religious movements justify their beliefs by making a claim upon science. Moving beyond the traditional focus on the United States, the book shows how debates about science and belief are firmly embedded in political conflict, class, community and culture.
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Aguayo, Angela J. Documentary Resistance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.001.0001.
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The potential of documentary moving images to foster democratic exchange has been percolating within media production culture for the last century, and now, with mobile cameras at our fingertips and broadcasts circulating through unpredictable social networks, the documentary impulse is coming into its own as a political force of social change. The exploding reach and power of audio and video are multiplying documentary modes of communication. Once considered an outsider media practice, documentary is finding mass appeal in the allure of moving images, collecting participatory audiences that create meaningful challenges to the social order. Documentary is adept at collecting frames of human experience, challenging those insights, and turning these stories into public knowledge that is palpable for audiences. Generating pathways of exchange between unlikely interlocutors, collective identification forged with documentary discourse constitutes a mode of political agency that is directing energy toward acting in the world. Reflecting experiences of life unfolding before the camera, documentary representations help order social relationships that deepen our public connections and generate collective roots. As digital culture creates new pathways through which information can flow, the connections generated from social change documentary constitute an emerging public commons. Considering the deep ideological divisions that are fracturing U.S. democracy, it is of critical significance to understand how communities negotiate power and difference by way of an expanding documentary commons. Investment in the force of documentary resistance helps cultivate an understanding of political life from the margins, where documentary production practices are a form of survival.
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Newton, Michael. Rosemary's Baby. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781838719074.
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Rosemary’s Baby is one of the greatest movies of the late 1960s and one of the best of all horror movies, an outstanding modern Gothic tale. An art-house fable and an elegant popular entertainment, it finds its home on the cusp between a cinema of sentiment and one of sensation. Michael Newton's study of the film traces its development at a time when Hollywood stood poised between the old world and the new, its dominance threatened by the rise of TV and cultural change, and the roles played variously by super producer Robert Evans, the film's producer William Castle, director Polanski and its stars including Mia Farrow and John Cassavetes. Newton’s close textual analysis explores the film's meanings and resonances, and, looking beyond the film itself, he examines its reception and cultural impact, and its afterlife, in which Rosemary's Baby has become linked with the terrible murder of Polanski's wife and unborn child by members of the Manson cult, and with controversies surrounding the director.
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Risman, Barbara J. Gender as a Social Structure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199324385.003.0002.
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The chapter reviews the social scientific research on gender beginning with biological theories and then moving on to psychological ones. Attention then moves to sociological theories developed as alternatives to understanding gender as a personality trait. The chapter then covers the “doing gender” and structuralist theories developed in the 20th century. Risman suggests that integrative frameworks, including her own, emerged toward the end of the 20th century. In this chapter, Risman offers a revision to her framework conceptualizing gender as a social structure with consequences for individual selves, interactional expectations of others, and institutions and organizations. With this revision, Risman differentiates between the material and cultural elements of each level of the gender structure.
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Dutta, Urmitapa. The Everyday and the Exceptional. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190614614.003.0008.
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This chapter makes a case for reconceptualizing human rights “from below” by grounding human rights discourses in women’s particularities and their voices rather than prescriptive policy standards. It does so by bringing together feminist perspectives grounded in decoloniality and liberation psychology. It presents findings from activist scholarship in Northeast India to offer a critical feminist analysis of civil society’s (non)response to gender-based violence and counternarratives of Garo women protagonists who explain these (non)responses. Following Garo women protagonists in their understanding of violence illuminates the fundamental heterogeneity of violence against women as well as underlying cultural institutional and structural processes. By moving between situated narrative and wider analysis, this chapter explicates the connections between “exceptional” violence and pervasive violations of women’s human rights. The research, action, and policy implications for feminist psychologists engaged in human rights scholarship are discussed.
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Winter, Tim. The Silk Road. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197605059.001.0001.
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Evocative and enigmatic, the Silk Road occupies a unique place in contemporary culture and international affairs. Across the world, it has captured the imagination as a story of camel caravans crossing desert and mountain, of precious goods moving between East and West, and of ideas, religions, and technologies migrating across land and sea. As China seeks to “revive” the Silk Roads for the twenty-first century, this compelling, yet poorly understood, narrative of history now serves as a platform for building trade, diplomatic, infrastructure, and geopolitical connections. The Silk Road: Connecting Histories and Futures is the first book to critically investigate the merits and problems of this fabled geocultural narrative of history and map out the role it plays in international affairs. Four thematic sections trace its rise to global fame as a domain of scholarship and foreign policy and as a celebration of peace and internationalism and how it created dreams of exploration and grand adventure. China’s Health Silk Road and civilizational politics are among the themes discussed that open up the Silk Roads as a space for critical enquiry. Pathbreaking in its analysis, The Silk Road; Connecting Histories and Futures presents an entirely new reading of this increasingly important concept, one that is likely to remain at the center of world affairs for decades to come. Crossing borders and topics, the book sits at the intersection of world and cultural history, international relations, and cultural theory and will be of interest to scholars and general readers alike.
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Murphy, Patrick D. Amazonian Indigenous Green. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252041037.003.0006.
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Drawing from the cultural survival efforts of the Kayapó and the Paiter-Suruí, this chapter traces how indigenous rights and Western environmentalism have shaped each other. At the core of analysis is how, through the different periods of Amazonian activism, indigenous actors have been both framed by and drawn from the notion of the “Ecologically Noble Savage.” The political currency of this reoccurring trope has informed the creation of alliances between indigenous communities and Western eco-conscious actors to “save the rainforest.” While these partnerships have benefited both the “First World” and “Fourth World” actors involved, they have often been built on the false assumptions and divergent agendas. This shifting ground has produced very different environmental discourses over the last 40 years, moving the place of native Amazonians from one of confrontational eco-conscious cultural activists aligned with Green Radicalism to the shared market-based, scientifically validated indicators consistent with Ecological Modernization.
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Gustafsson, Tommy, and Pietari Kääpä, eds. Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.001.0001.
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Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia (1997) to high concept ‘video generation’ productions such as Iron Sky (2012). Yet, genre, at least in this context, indicates both a complex strategy for domestic and international competition as well as an analytical means to identify the Nordic film cultures’ relationships to international trends. Conceptualizing Nordic genre film as an industrial and cultural phenomenon, other contributions focus on road movies, the horror film, autobiographical films, the quirky comedy, musicals, historical epics and pornography. These are contextualized by discussion of their place in their respective national film and media histories as well as their influence on other Nordic countries and beyond. By highlighting similarities and differences between the countries, as well as the often diverse production modes of each country, as well as the connections that have historically existed, the book works at the intersections of film and cultural studies and combines industrial perspectives and in depth discussion of specific films, while also offering historical perspectives on each genre as it comes to production, distribution and reception of popular contemporary genre film.
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Guarneri, Michael. Vampires in Italian Cinema, 1956-1975. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.001.0001.
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The book takes as its subject a corpus of thirty-three vampire movies made, distributed and exhibited during the peak years of film production in Italy, and certified to be of Italian nationality by state institutions such as the Italian Show Business Bureau and the Italian Film Censorship Office. Positioning itself at the intersection of Italian film history, horror studies and cultural studies, the book asks: why, and how, is the protean, transnational and transmedial figure of the vampire appropriated by Italian cinema practitioners between 1956 and 1975? Or, more concisely, what do the vampires of post-war Italian cinema mean? The aim is to show that – in spite of Italian vampire cinema’s imported and derivative nature, and its great reliance on profits coming from distribution on the international market – Italian cinematic vampires reflect their national zeitgeist from the economic miracle of the late 1950s to the mid-1970s austerity, twenty years of large political and socio-economic change in which gender politics were also in relative flux. The result of an original research into film production data, film censorship files, screenplays, trade papers, film magazines and vampire-themed paraliterature, the book leaves the well-trod track of award-winning art films to shed light on some of the so-called ‘lower forms’ of cinematic culture, looking for the economic backbone and cultural instrumentality of post-war Italian cinema in the run-of-the-mill genre movies rushed through a cheap production and into domestic and international distribution to parasitically (vampirically?) exploit a given commercially successful film.
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Lewis, Hannah. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0001.
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The introduction presents the book’s scope, approach, and organization. It recounts the history of the transition to synchronized sound film, which has largely been examined from the perspective of American cinema. However, because of aspects of French cinematic and musical culture that were unique to France, the transition unfolded in very different ways, becoming a hotly debated topic and resulting in divergent artistic responses. The introduction lays out the competing conceptions of sound film in France—for instance, its aesthetic proximity to either live theater or silent film, and its potential as a realist medium or a source of abstract fantasy—and the ways these conceptions played out in practitioners’ writings and films of the period. The films created during this “transitional” moment in filmmaking encourage us to reconsider long-held assumptions about the relationship between music and the moving image.
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Assael, Brenda. Running the Restaurant. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198817604.003.0003.
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Chapter 2 examines the restaurant as a business. It offers an explanation for the dramatically contrasting fortunes of London’s restaurants, a sector of the economy characterized by success and expansion as well as by failure and bankruptcy. Consideration is given to how restaurants were financed, how they secured staff and supplies, the incorporation of new technology, and the often ingenious ways that they sought out customers. Restaurant proprietors and managers (and even cooks and chefs) explored a variety of schemes to establish their status as professionals, but these rarely compromised the vigorous pursuit of financial reward, in a sector of the economy in which profit margins were often relatively small. In an era characterized by a moving frontier between state and economy, the restaurant revealed the ongoing commitment in Victorian and Edwardian culture to the power of free enterprise and the maintenance of a robust commercial domain.
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Paszkiewicz, Katarzyna. Genre, Authorship and Contemporary Women Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.001.0001.
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Genre, Authorship and Contemporary Women Filmmakers examines the significance of women’s contribution to genre cinema by highlighting the work of US filmmakers within and outside Hollywood – Kathryn Bigelow, Sofia Coppola, Nancy Meyers, Karyn Kusama and Kelly Reichardt, among others. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, Katarzyna Paszkiewicz interrogates questions of ‘genre’ authorship; the blurring of the borders between commercial and independent cinema and gendered discourses of (de)authorisation that operate within each sphere; ‘male’–‘female’ genre divisions; and the issue of authorial subversion in film and popular culture in a wider sense. With its focus on close analysis of the films themselves and the cultural and ideological meanings involved in the reception of genre texts authored by women, this book expands critical debates around women’s cinema and offers new perspectives on how contemporary filmmakers explore the aesthetic and imaginative power of genre.
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Buhler, James. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0001.
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From its beginnings in the later nineteenth century, film—“moving pictures”—posed problems for critics, philosophers, and others concerned with the nature of art. At one level it was an abstract question: could film, a product of mechanical reproduction, be an aesthetic object at all? At another level, it was a matter of mechanics and effects: what did film do, and how did it do it? At still another level, it was a matter of cultural hierarchy: how did film as a popular art form relate to the very well-established categories of the theater, painting, opera, and so forth? This chapter lays out central issues such as the distinction between representation and reproduction, the nature of the sound film, the proper sound accompaniment for a film, and the question of the audiovisual hybridity of the medium.
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Scott, Walter. Old Mortality. Edited by Jane Stevenson and Peter Davidson. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199555307.001.0001.
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Old Mortality (1816), which many consider the finest of Scott’s Waverley novels, is a swift-moving historical romance that places an anachronistically liberal hero against the forces of fanaticism in seventeenth-century Scotland, in the period infamous as the ‘killing time’. Its central character, Henry Morton, joins the rebels in order to fight Scotland’s royalist oppressors, little as he shares the Covenanters’ extreme religious beliefs. He is torn between his love for a royalist’s granddaughter and his loyalty to his downtrodden countrymen. As well as being a tale of divided loyalties, the novel is a crucial document in the cultural history of modern Scotland. Scott, himself a supporter of the union between Scotland and England, was trying to exorcise the violent past of a country uncomfortably coming to terms with its status as part of a modern United Kingdom. This novel is in itself a significant political document, in which Scott can be seen to be attempting to create a new centralist Scottish historiography, which is not the political consensus of his own time, the seventeenth century, or today.
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Whitehead, Kevin. Play the Way You Feel. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.001.0001.
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This book—both a narrative and a film directory—surveys and analyzes English-language feature films (and a few shorts and TV shows/movies) made between 1927 and 2019 that tell stories about jazz music, its musicians, its history and culture. Play the Way You Feel looks at jazz movies as a narrative tradition with recurring plot points and story tropes, whose roots and development are traced. It also demonstrates how jazz stories cut across diverse genres—biopic, romance, musical, comedy and science fiction, horror, crime and comeback stories, “race movies” and modernized Shakespeare—even as they constitute a genre of their own. The book is also a directory/checklist of such films, 67 of them with extensive credits, plus dozens more shorter/capsule discussions. Where jazz films are based on literary sources, they are examined, and the nature of their adaptation explored: what gets retained, removed, or invented? What do historical films get right and wrong? How does a film’s music, and the style of the filmmaking itself, reinforce or undercut the story?
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Howland, John. Hearing Luxe Pop. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0009.
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This chapter examines the concept of the “luxe pop” production practices and their evolution over the last several decades. It traces the connection between modern luxe pop, 1970s symphonic soul, and 1920s symphonic jazz. Each case features the timbre of a lush string orchestra as a stand-in for highbrow or elevated culture, while the overlaid genres of jazz, soul, and hip-hop function as a symbol of lowbrow culture. This juxtaposition of black/white, lowbrow/highbrow, street/luxury functions as musical irony and subversive sarcasm. This chapter traces specifically the connection between Jay-Z’s symphonic hip-hop production “Can I Live,” which samples Isaac Hayes’s cover of Burt Bacharach’s “The Look of Love,” a recording that was featured in the movie Casino Royale (1967). Pop music’s tendency to borrow samples from its own history (“retromania”) leads to an interconnected web of artists spanning decades of popular music.
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Ho, Joseph W. Developing Mission. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501760945.001.0001.
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This book offers a transnational cultural history of US and Chinese communities framed by missionary lenses through time and space—tracing the lives and afterlives of images, cameras, and visual imaginations from before the Second Sino-Japanese War through the first years of the People's Republic of China. When American Protestant and Catholic missionaries entered interwar China, they did so with cameras in hand. Missions principally aimed at the conversion of souls and the modernization of East Asia, became, by virtue of the still and moving images recorded, quasi-anthropological ventures that shaped popular understandings of and formal foreign policy toward China. Portable photographic technologies changed the very nature of missionary experience, while images that missionaries circulated between China and the United States affected cross-cultural encounters in times of peace and war. The book illuminates the centrality of visual practices in the American missionary enterprise in modern China, even as intersecting modernities and changing Sino-US relations radically transformed lives behind and in front of those lenses. In doing so, the book reconstructs the almost-lost histories of transnational image makers, subjects, and viewers across twentieth-century China and the United States.