Drawing on a wide range of films from the 1920s to the 1990s—from Keaton’s Our Hospitality to Casablanca to Terminator 2, Kristin Thompson offers the first in-depth analysis of Hollywood’s storytelling techniques and how they are used to make complex, easily comprehensible, entertaining films.
Originally published in 1992, The Esoteric Scene, Cultic Milieu, and Occult Tarot examines beliefs, practices, and activities described as mystical, psychical, magical, spiritual, metaphysical, theophysical, esoteric, occult, and/or pagan, among other possible labels, by their American disciplines. The book is comprised using a mixture of field work and interviews and provides a broad overview of the esoteric community and the social meanings of occultism. The book describes and analyses social meanings of ‘esoteric culture’ as it is experienced, defined, structured and enacted by societal members and examines the sociological significance of esoteric culture as a formulation of alternative sociocultural realities. It provides a sociological understanding of esoteric culture and the cultural milieu.
The first English-language collection of a contemporary Russian master of the short story, recenly profiled in The New Yorker Maxim Osipov, who lives and practices medicine in a town ninety miles outside Moscow, is one of Russia’s best contemporary writers. In the tradition of Anton Chekhov and William Carlos Williams, he draws on his experiences in medicine to write stories of great subtlety and striking insight. Osipov’s fiction presents a nuanced, collage-like portrait of life in provincial Russia—its tragedies, frustrations, and moments of humble beauty and inspiration. The twelve stories in this volume depict doctors, actors, screenwriters, teachers, entrepreneurs, local political bosses, and common criminals whose paths intersect in unpredictable yet entirely natural ways: in sickrooms, classrooms, administrative offices and on trains and in planes. Their encounters lead to disasters, major and minor epiphanies, and—on occasion—the promise of redemption.
A fundamentally new interpretation of the emergence of modern terrorism, arguing that it formed in the Russian literary imagination well before any shot was fired or bomb exploded.
The fascinating history of an unknown people A vivid mixture of history and reporting, The Shaman's Coat tells the story of some of the world's least-known peoples-the indigenous tribes of Siberia. Russia's equivalent to the Native Americans or Australian Aborigines, they divide into two dozen different and ancient nationalities-among them Buryat, Tuvans, Sakha, and Chukchi. Though they number more than one million and have begun to demand land rights and political autonomy since the fall of communism, most Westerners are not even aware that they exist. Journalist and historian Anna Reid traveled the length and breadth of Siberia-one-twelfth of the world's land surface, larger than the United States and Western Europe combined-to tell the story of its people. Drawing on sources ranging from folktales to KGB reports, and on interviews with shamans and Buddhist monks, reindeer herders and whale hunters, camp survivors and Party apparatchiks, The Shaman's Coat travels through four hundred years of history, from the Cossacks' campaigns against the last of the Tatar khans to native rights activists against oil development. The result is a moving group portrait of extraordinary and threatened peoples, and a unique and intrepid travel chronicle.
In many ways what is identified today as “cultural globalization” in Eastern Europe has its roots in the Cold War phenomena of samizdat (“do-it-yourself” underground publishing) and tamizdat (publishing abroad). This volume offers a new understanding of how information flowed between East and West during the Cold War, as well as the much broader circulation of cultural products instigated and sustained by these practices. By expanding the definitions of samizdat and tamizdat from explicitly political print publications to include other forms and genres, this volume investigates the wider cultural sphere of alternative and semi-official texts, broadcast media, reproductions of visual art and music, and, in the post-1989 period, new media. The underground circulation of uncensored texts in the Cold War era serves as a useful foundation for comparison when looking at current examples of censorship, independent media, and the use of new media in countries like China, Iran, and the former Yugoslavia.