Swedish artist JH Engström is an inveterate bookmaker. Most recently, his published works have explored ideas of place and home, including Sketch of Paris (Aperture, 2013), La Résidence (2010), From Back Home (2009), and CDG/JHE (2008). After more than a decade of such thematic projects, Tout Va Bien returns to the looser, more associative approach of Engström's critically acclaimed volume Trying to Dance (2003). The source for these photographs is nevertheless strongly autobiographical, as well as vividly metaphorical; a reemphasis of the artist's belief in photography's potential as visual poetry. The sequencing is highly charged with contrasts: black-and-white images mix with color; the gentle beauty of coastal rocks clashes with a flash-lit image of the bright, blood-red placentas from the birth of his twins. The book leaves it to the viewer to map his or her own network of meaning from image to image, page to page. Tout Va Bien is designed and produced by Patric Leo, who also collaborated with the artist on Trying to Dance.
Pathé'O, originally from Burkina Faso, is an African fashion icon in every sense of the word. Known for his collections far beyond his chosen home Ivory Coast, the designer's visionary legacy has been influencing the aesthetic standards and experience of fashion on the African continent for over 30 years and has also led to a recent collaboration with the fashion house Dior. His distinct design aesthetics and cutting-edge approach to sustainability alongside a gift for combining cultural commitment with entrepreneurial creativity have inspired designers of all ages. For long it was common for politicians and showbiz celebrities in West African former French colonies to dress in a Western manner. In this context Pathé'O approached his work with the clear intention to raise appreciation amongst Africans for a local fashion style and industry.In the 80s, Pathé'O became friends with Thomas Sankara, president of Upper Volta, later Burkina Faso, and a proponent of Pan-Africanism. Pathé'O was heavily influenced by Sankara's decisiveness to promote local pride and cultural heritage and from this point on he solely relied on using locally produced fabrics. His creations became a contemporary tribute to cultural heritage, history and identity. A further prominent encounter Pathé'O experienced was with Nelson Mandela, who was the first African president to chose his vibrant designs and light cotton fabrics over a Western business suit. And he was soon to be followed by other heads of states, as well as stars of the showbiz and sports, and of course Madame et Monsieur Tout-le-Monde.Pathé'O's fabrics are his trademark and he has a lifelong experience of fusing global fashion trends with a wide range of African textiles and knowledge, hence keeping the local heritage alive and ever evolving. For the first time, this book traces the extraordinary journey of Pathé'O and his brand. The craftmanship and treasures of his creations provide a better understanding of the spectrum of fashion in West Africa, the mergers of a global present with a rich cultural heritage. The book explores topics ranging from the fashion and textile industry to labour migration, cultural heritage, politics and showbiz, and spans an arc from the past to the present. (Verlagshomepage)
"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole.
Bearded bomb-throwers, self-indulgent nihilists, dangerous subversives.these characteristic clichés of anarchists in the popular imagination are often reproduced in the cinema. In Film and the Anarchist Imagination, the first comprehensive survey of anarchism in film, Richard Porton deconstructs such stereotypes while offering an authoritative account of films featuring anarchist characters and motifs. From the early cinema of Griffith and René Clair, to the work of Godard, Lina Wertmüller, Lizzie Borden and Ken Loach, Porton analyzes portrayals of anarchism in film, presenting commentaries and critiques of such classics as Zéro de Conduite, Tout Va Bien, and Love and Anarchy. In addition, he provides an excellent guide to the complex traditions of anarchist thought, from Bakunin and Kropotkin to Emma Goldman and Murray Bookchin, disclosing a rich historical legacy that encompasses the Paris Commune, the Haymarket martyrs, the anarcho-syndicalists of the Spanish Civil War, as well as more familiar contemporary avatars like the Situationists and the enragés of May 1968.
Doucet's third book, her longest and most,ambitious story collected for the first time in,one beautifully produced softcover edition.,Details the events in Doucet's life during a six,month period in 1991 when she packed her bags and,moved to New York to join her new boyfriend in his,upper west side apartment. Doucet effectively,portrays how the initial excitement of their,new beginning gives way to his over bearing,jealousy. Includes 'My First Time' and 'Julie in,Junior College'.
The ingenuity of ten-year-old Bottsford enables the three policemen of an isolated idyllic isle to catch the thieves who have been stealing the islanders' fish and fishing nets.
"Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinema"
"Wherever Jenny goes, her worries follow her-- in a big blue bag! They are there when she goes swimming, when she is watching TV, and even when she is in the lavatory. Jenny decides they will have to go. But who can she get to help her? This funny and reassuring story will appeal to all children who have occasional worries"--Page 4 of cover
"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole.
