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Gallica

Traces contemporary and later reception of Joan of Arc, examining how cultural beliefs and conventions have shaped her story.

McGrady Deborah: Joan of Arc

Joan of Arc

The Life of a French Cultural Icon

List of Figures
Preface
Acknowledgements
Note on Citation Practices and Frequently Cited Editions
Introduction: Joan of Arc's World

1. Breaking News: Early Versions of Joan's Story
2. Joan on Record
3. From Monstrosity to Martyr: Joan's Body on Display
4. Remembering Joan: From Supporting Role to Cultural Icon
5. The Medieval Heroine and Modern Time

Coda: Joan's Futures
Timeline of Key Moments of Joan's Legacy
Appendix: Francisci Barbari ¿Andreae¿ Gallica pulcherrima - Edited and Translated by Gregory Hays
Bibliography
Index

This book examines a range of systems and structures that film and video artists have developed in works spanning the late 1960s to the present, often in response to the changing technologies and medium of cinema. Simon Payne considers the affinities that film and video works share with aspects of painting, sculpture and music. He argues that the evolution of methodical strategies in artists' cinema can be traced back to the first avant-garde films made a century ago between 1921-1924. Tracing the lineage of key figures and international groups that have formed part of the picture since then, he posits that the most thorough formal exploration of cinema can be credited to a generation of artists that began making films in Britain in the late 1960s and early 1970s. He goes on to analyse the work of key filmmakers including Peter Gidal, David Hall, Malcolm Le Grice, Annabel Nicolson, Lis Rhodes and Guy Sherwin. Paying close attention to their recent films and videos as well as those of diverse younger artists working in a similar tradition. Experimental Cinema, Structures and Systems traces a unique and influential lineage that has defined some of the central preoccupations of experimental film and video, which tests our expectations of cinema, television and the moving image.

Structures, Systems and Strategies

Experimental Cinema

This book examines the integral role that makeup plays in the construction and promotion of female stardom, focusing on the transitional Hollywood period, between 1950 and 1970, a time of great change in Hollywood with the advent of television, the break-up of the studios and the break-down of the production code. Cathy Lomax's compelling study features in-depth case studies of stars Vivien Leigh, Marilyn Monroe, Natalie Wood, Dorothy Dandridge and Joan Crawford alongside archival images of make-up promotional material and the make up used by stars and their fans to interrogate the role of makeup in defining and adjusting the appearance of race, beauty, ageing, naturalness, and sexual appeal in the star image. Makeup is a vital technical material in film and photography; correcting skin-tones for different film stocks and making features visible under bright lights. But it is also a component of a film's mise-en-scene, intrinsically linked to the visual allure of cinema and helps to shape and refine the female star image, both on- and off-screen. Lomax's case studies show how makeup was used to create female figures such as the femme fatale played by Marilyn Monroe in Niagara (1953); how in various roles Natalie Wood's makeup was used to suggest a youthful, natural and openly sexual young woman, or, when as a white actress she was cast in 'ethnic' roles, to create an impression of a Hispanic, Native American or Black identity; how Dorothy Dandridge's light skin challenged codes around inter-racial relationships, with the result that her skin was darkened for love scenes with Black actors, and how the transition to colour impacted Joan Crawford's star persona as she aged, and how ideas about the grotesque nature of female ageing were represented in the 1960s cycle of 'hag horror' movies such as 1962's Whatever Happened to Baby Jane? Drawing on film studies, feminist debates on masquerade theory, celebrity studies and fashion and cultural studies, alongside information from biographies, fan magazines, archives, and practical experience from her own work as a makeup artist, Lomax reveals the vital and under-examined role that makeup plays in the display of femininity on film, and how this is exemplified through the construction of individuated stardom. By making visible a material, that because of its connection with feminine adornment has been overlooked or disregarded, this book highlights undervalued labour, and foregrounds the female agency that was articulated by the design and application of makeup.

Makeup, Femininity, Race and Ageing in Hollywood

Making Up the Star

Based on thousands of never-before translated letters and unpublished sources, Jackie Wullschläger's enthralling biography is the first account of Monet's turbulent private life and how it determined his expressive, sensuous, sensational painting. Deeply moving, it immerses us in that passionate experience, transforming our understanding of the man, his art and the fullness of his achievement.

In the course of a long and exceptionally creative life, Claude Monet revolutionized painting and made some of the most iconic images in western art. Yet behind this great and famous artist is a volatile, voracious, nervous yet reckless man, largely unknown. Jackie Wullschläger's enthralling biography, based on thousands of never-before translated letters and unpublished sources, is the first account of Monet's turbulent private life and how it determined his expressive, sensuous, sensational painting. He was as obsessional in his love affairs as in his love of nature, and changed his art decisively three times when the woman at the centre of his life changed. His work also responded intensely to outside cataclysms - the Dreyfus Affair, the First World War. Prime Minister Georges Clemenceau was his closest friend. Rich intellectual currents connected him to writers from Zola to Proust; affection and rivalry to Renoir, Pissarro and Manet. Monet said he was driven 'wild with the need to put down what I experience'. This rich and moving biography immerses us in that passionate experience, transforming our understanding of the man, his paintings and the fullness of his achievement.

The Restless Vision

Monet

Contemporary Art Cinema Culture in China

Anthropology, Creative Practice and Ethnography

A Creative Ethnography of Loneliness

The Loneliness Room

Women in Antiquity

Life, Love, and Literature in Ancient Rome

Sulpicia

Cambridge Companions to History

The Cambridge Companion to the Spanish Inquisition

The Life of a Restless Saint

Francis of Assisi

SUNY series, Literature... in Theory

Anna Maria Ortese and Roberto Rossellini in the Underworld

Ascetic Images

This book gathers a group of scholars whose work has been influenced by the distinctive dialogue between ancient philosophy (and rhetoric) and critical theory promoted by the scholarship of James I. Porter. A classicist who has pushed classics beyond itself - beyond its traditional boundaries - Porter has demonstrated that antiquity cannot be studied without participating in what is sometimes dismissively labeled "reception." The collection here does not simply celebrate the work of a major figure in the field of classics through a series of Porterian writing experiments, but locates the futures of classics in its predisposition to endless transformation, alteration, reconfiguration, and fugitive or exilic deterritorialization. Philology is a practice of philosophy in that contact with the ghosts of antiquity and its diachronic manifestations in modernity confronts the interpreter with opportunities for unlearning as well as learning, unthinking as well as thinking, and for engaging with impossibilities as well as possibilities. The essays gathered here, unified by these themes, include contributions on ancient philosophy (Democritus, the sophists, Aristotle, and Lucretius); reflections on the sublime, which Porter has pivotally elucidated; interventions on the theme of philology and exile (in Nietzsche, Marx, Freud, and Derrida); and theoretical musings on the "agony of immanence," the "biomatic," the "atmospheric," and the relationship between immigration and classical reception.

Essays in Honor of Jim Porter

The Philology of the Future

BFI Film Classics

Groundhog Day

Joan of Arc

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