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Reed K: David Bowie and the Moving Image

David Bowie and the Moving Image

A Standing Cinema

List of Figures
1. Introduction: Sons of the Silent Age
Part I: Bowie as Auteur
2. Semiotics and the Creation of “David Bowie”
3. Cracked Actor: The Music Video and Bowie as Moving Image
4. Screen Dreams: Theatrical Staging, Film, and Diamond Dogs
Part II: Bowie as Sign
5. Hollywood Highs: Acting Roles and Bowie’s Star Image
6. “Mass Motivation”: Advertising, Audience, and the Bowie Star Image
7. Who Can I Be Now?: Fannish Creation and Depictions of Bowie on Film
8. Conclusion: Living On
Bibliography
Media Bibliography
Acknowledgments
Index

33 1/3 Japan

Widely recognized as the most innovative and influential Japanese group since the Second World War, Yellow Magic Orchestra (YMO) is seeing a revival among music listeners around the world, along with the works of its three members: Academy Award-winning composer Sakamoto Ryuichi, Hosono Haruomi as the central figure of the Japanese "city pop" revival, and Takahashi Yukihiro, who plays drums for METAFIVE with Towa Tei and Oyamada Keigo (Cornelius). This is the first book in English on Yellow Magic Orchestra, positioning its first album as the nexus of jazz fusion, new wave, and hip hop music. YMO's debut album provides a lens on transpacific dialogue on technology, race, and intellectual history. Examining the cultural negotiations between African American and Japanese musicians since the 1970s, this book considers the album as a nascent work of Afro-Asian futurism.

Yellow Magic Orchestra’s Yellow Magic Orchestra

Bloomsbury Adaptation Histories

Noted scholar Imelda Whelehan looks at key adaptations released during this period and considers the impact of social change, film consumption and film tastes, as well as noting the most popular genres at this time. The latter part of the 20th century saw cinema becoming increasingly significant as an art-form, even while its status as 'art' was still openly contested. This installment in the Bloomsbury Adaptation Histories series discusses a rich and exciting period of cinema history: Hollywood in the latter stages of its golden age, releasing masterpiece adaptations such as It's A Wonderful Life (1946), The Treasure of the Sierra Madre (1948), The Third Man (1949), All About Eve (1950), Rear Window (1954), The Night of the Hunter (1955) and Vertigo (1958).

1946-59

Post-war Adaptations

An IndependentBest Non-Fiction Book 2024A Publishers Weekly Top 10 Best Book 2024"A vibrant, multifaceted portrait of a music enigma" Guardian"A powerful portrait" Irish Independent"Displays a bracing rigour and an exhilarating curiosity about its subject, coming closer than most to catching up with Mitchell on her lonely road" Times

On the Path of Joni Mitchell

Travelling

The A to Z of Led Zeppelin

Valhalla!

A Simon &amp; Schuster Book. Simon &amp; Schuster has a great book for every reader.

Untitled IMC

The Bengali filmmaker, Ritwik Kumar Ghatak (1925-1976), wrote, produced, directed and/or acted in plays, feature films and documentaries in Bengal during the socially and politically tumultuous period from the late 1940s through the mid-1970s. Why Ghatak? Within the contexts of Bengali, Indian and world cinema, Ghatak is considered an innovative, revolutionary master of the cinematic medium who possessed a singular cinematic sensibility. He composed numerous essays on film and filmmaking in English and Bengali. Dozens of interviews have been recorded that present an artist who was contemplative, outspoken, at times misunderstood, at turns obstinate and contradictory. 

From his first film, Nagarik ("The Citizen," 1953) through his final film, Jukti Takko ar Gappo ("An Argument, a Debate, and a Story," 1974), Ghatak constructed detailed visual and aural filmic commentaries about modern Bengali culture and society. Twice during his lifetime Bengal was physically rent apart - in 1947 with the Partition of India engendered by the departure of the British and in 1971 by the Bangladeshi War of Independence. In Ghatak's films, the ambivalence and contradictions of Bengali society in post-1947, post-Partition, post-Independence India are pointedly portrayed. Against this frequently adverse milieu, Bengal's modern cultural memory, identity, and history are interrogated and continually reassessed in his cinema.

Ritwik Ghatak’s Cinematic Sensibility

Unti Nonfiction

Far Above The World

Iconic Filmmakers Series

Wes Anderson&nbsp;celebrates the work of one of the most revered cult filmmaker working in contemporary cinema.

David Bowie and the Moving Image

Informations bibliographiques

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