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<div>Imagine your favorite movies as vintage books! This clever collection features iconic films, cult classics, and box office hits brilliantly designed to look like original book covers—a delight for film fanatics and bibliophiles alike.</div>

Imagine your favorite movies as vintage books! This clever collection features iconic films, cult classics, and box office hits brilliantly designed to look like original book covers—a delight for film fanatics and bibliophiles alike.

Stevens Matt: Good Movies as Old Books

Good Movies as Old Books

Films Reimagined as Vintage Book Covers

This open access book investigates film studios in Britain, France, Germany and Italy between the 1930s and 1960s. During this time, studios faces unprecedented challenges including wartime disruptions, post-war fragmentation, movement of labour and the introduction of new technologies. While the study of film studios has been dominated by the centralized Hollywood 'studio system', the authors present new research about the often very different histories of Europe's film studios, comparing their geographic locations, architectures and infrastructural development. They explore a number of well-known studios including Pinewood, Joinville, Babelsberg and Cinecittà, as well as lesser-known production sites such as Manchester, Victorine, post-war West German studios and Tirrenia as diverse creative and economic infrastructures. Drawing on a wealth of archival sources, photographs, films, aerial maps and visualizations, the book charts how artistic practices responded to transnational flows in film studio expertise, as studios constituted formative, materially based 'spaces of the imagination' that produced some of cinema's most influential films. How studios worked in the past as dynamic, creative working environments that were profoundly influenced by their locations, architectures and personnel, is foregrounded as the authors produce new understandings of how the collaborative and material environments of studio spaces and technologies shaped film production and cultures. The open access edition of this book is available under a CC BY-NC-ND 4.0 licence on www.bloomsburycollections.com. Open access was funded by the European Research Council.

Architecture, Innovation, Labour, Politics, 1930-60

Film Studios in Britain, France, Germany and Italy

A nuanced and personal look at the Latino art world in New York from the 1970s to the new millennium &nbsp; In this deft interweaving of autobiography with the story of Latino art’s place in the flourishing New York art scene, Edward J. Sullivan calls attention to the prominent influence of Latin American artists from the 1970s until today. Recounting his own journey from student and curator to one of the field’s most celebrated scholars, Sullivan gives readers an insider’s look at a time when Latino art went from the margins to the spotlight and the discipline of Latin American art emerged. Beginning in the wake of the Black Power, gay liberation, and second wave feminism movements, Latino artists exhibited their work everywhere from alternative art spaces to major museums and forged a community and a collective identity. As Latin American and Latino artists navigated crises from AIDS to 9/11, they established their art forms as central to academic study and made New York’s institutions, museums, and galleries take it more seriously. &nbsp; Sullivan offers his readers an intimate view of the people, places, and events that populated the world of Latino art in New York as he showcases Latin American art from ancient to modern times. Rufino Tamayo, Carmen Herrera, Pepón Osorio, Cecilia Vicuña, and Juan Sánchez are among the many personalities who populated the scene. The result is a compelling and often surprising tale of cultural, personal, and institutional activity, and, at times, the intrigues that result from their collaborations.

Art and Experience, 1970-2001

Latino New York

Renaissance Lives

Francisco de Zurbarán and the Fabric of the World

The Making of an Icon

Frida

Radical Lives

Gladys Hynes

Afro-Latin America

Art and Anti-Racism in Latin America

Vogue Goes Pop Colouring Book

Beyond Belief

Described as 'exhilarating' by Katy Hessel, a compelling and lively history that examines the lives of British artists from the late-19th century to today. In This is Tomorrow Michael Bird takes a fresh look at the 'long twentieth century', from the closing years of Queen Victoria's reign to the turn of the millennium, through the lens of the artists who lived and worked in this ever-changing Britain. Bird examines how the rhythms of change and adaptation in art became embedded in the collective consciousness of the nation and vividly evokes the personalities who populate and drive this story, looking beyond individual careers and historical moments to weave together interconnecting currents of change that flowed through London, Glasgow, Leeds, Cornwall, the Caribbean, New York, Moscow and Berlin. From the American James McNeill Whistler's defence of his new kind of modern art against the British art establishment in the latter half of the 19th century to the Danish-Icelandic artist Olafur Eliasson's melting icebergs in London, he traverses the lives of the artists that have recorded, questioned and defined our times. At the heart of this original book are the successive waves of displacement caused by global wars and persecution that conversely brought fresh ideas and new points of view to the British Isles; educational reforms opened new routes for young people from working-class backgrounds; movements of social change enabled the emergence of female artists and artists of colour; and the emergence of the mass media shaped modern modes of communication and culture. These are the ebbs and flows that Michael Bird teases out in this panoramic account of Britain and its artists in across the twentieth century.

This is Tomorrow

A major reevaluation of a towering figure in twentieth-century art and the relationship of his sculpture to the crisis of nationalism in modern Europe &nbsp; Figures of Crisis examines the neglected decade of artwork that separates the surrealist experiments of Swiss artist Alberto Giacometti (1901–1966) from his iconic postwar sculptures, revealing the connection between a famous artistic crisis in modern art and the crisis of national identity in modern Europe. In 1935, Giacometti abruptly abandoned his early abstract objects and devoted himself to sculpting portrait busts and minuscule figurines, many no larger than a fingernail. Joanna Fiduccia reimagines this fragmentary and inconspicuous body of work as the pivotal phase in his career, which registered the erosion of interwar democratic values and the searching questions this period posed for the future of modern sculpture. &nbsp; Challenging previous explanations of Giacometti’s return to figuration, Fiduccia argues that his figures gave form to the experience of social breakdown during the rise of fascism through their turbulent surfaces, unsettling generality, dramatic reduction of scale, and compulsive repetition. This fresh account, told through the philosophical, political, and aesthetic thought of Giacometti’s time, shows how ideologies of nationalism generated the problems of selfhood at the heart of modernism.

Good Movies as Old Books

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