An Enduring Image

An integrated look at the political films of the 1960s and ’70s and how the New Left transformed cinema A timely reassessment of political film culture in the 1960s and ’70s, Enduring Images examines international cinematic movements of the New Left in light of sweeping cultural and economic changes of that era. Looking at new forms of cinematic resistance—including detailed readings of particular films, collectives, and movements—Morgan Adamson makes a case for cinema’s centrality to the global New Left. Enduring Images details how student, labor, anti-imperialist, Black Power, and second-wave feminist movements broke with auteur cinema and sought to forge local and international solidarities by producing political essay films, generating new ways of being and thinking in common. Adamson produces a comparative and theoretical account of New Left cinema that engages with discussions of work, debt, information, and resistance. Enduring Images argues that the cinemas of the New Left are sites to examine, through the lens of struggle, the reshaping of global capitalism during the pivotal moment in which they were made, while at the same time exploring how these movements endure in contemporary culture and politics. Including in-depth discussions of Third Cinema in Argentina, feminist cinema in Italy, Newsreel movements in the United States, and cybernetics in early video, Enduring Images is an essential examination of the political films of the 1960s and ’70s.

Paul Fazekas was drafted into the U.S. Army in 1969 at nineteen years of age. He served as a rifleman with the First Air Cavalry Division (Airmobile) and the 11th Light Infantry Brigade during his one-year tour of Vietnam. His book examines the personal cost of war suffered by combat veterans throughout their lifetime after they return.

Enduring Images describes the personal cost of war paid by combat veterans and their loved ones over the course of a lifetime. Dr. Paul Fazekas was drafted into the U.S. Army in 1969 at the age of nineteen and participated in the most unpopular and controversial war in American history. He reluctantly, and sometimes defiantly, served as a rifleman with the First Air Cavalry Division (Airmobile) and the 11th Light Infantry Brigade for a one-year tour in Vietnam. Despite his best efforts to forget combat trauma, he was forced to confront the ghosts of Vietnam in 2002, when he met the family of his squad leader who was mortally wounded in an ambush and died in his arms. This providential meeting opened the way to a more meaningful healing from posttraumatic stress, a disorder that many combat veterans and their families can identify with along their own journeys. He was awarded the Combat Infantryman Badge along with other military medals and decorations.

Traces the history of American painting through incisive accounts of significant American painters from the unknown limners of colonial days to the pop and op artists of the 1960's.

Traces the history of American painting through incisive accounts of significant American painters from the unknown limners of colonial days to the pop and op artists of the 1960's.

This book discusses the significance of cultural symbols/‘images’ in the nation-building of Eurasian states that emerged out of the former Soviet Union. It particularly focuses on the cases of Uzbekistan and Kazakhstan in the post-Soviet era and argues that the relationship between nation- and image-building has been particularly relevant for Eurasian states. In an increasingly globalized world, nation-state building is no longer an activity confined to the domestic arena. The situating of the state within the global space and its ‘image’ in the international community (nation branding) becomes in many ways as crucial as the projection of homogeneity within the state. The relationship between politics and cultural symbols/ ‘images’, therefore acquires and represents multiple possibilities. It is these possibilities that are the focus of Symbols and the Image of the State in Eurasia. It argues that the relationship between politics and cultural symbols/ ‘images’, became particularly relevant for states that emerged in the wake of the disintegration of the Soviet Union in Central Asia. It extends the argument further to contend that the image that the state projects is largely determined by its legacy and it attempts to do this by taking into account the Uzbek and Kazakh cases. In the shaping of the post-Soviet future these legacies and projections as well as the policy implications of these projections in terms of governmentality and foreign policy have been decisive.

Science fiction films celebrate and critique the impact of a burgeoning technology on the world's cultural, political, and social milieu. The Machine Age, roughly delineated by the two decades between World Wars, was a watershed period during which modern society entered into an ambiguous embrace with technology that continues today. J. P. Telotte carefully blends film, technology, cultural, and genre studies to illuminate this nearly forgotten era in our cinematic history and to show, through analysis of classics like The Invisible Ray, Metropolis, and Things to Come, how technology played a major role as motif, "actor," and producer. What he also discovers as he ranges among the American, British, Russian, French, and German science fiction cinema — as well as mainstream films, figures, and cultural products such as the New York World's Fair — is a fundamental ambivalence, embedded in the films themselves, about the very machine-age ethos they promoted. Even as advances in the technical apparatus of filmmaking elevated it from mere entertainment to a medium of general communication and genuine artistic expression, Machine Age science fiction films remained curiously distant from and often skeptical of the very machines on which their narratives focus. The resulting tensions, Telotte writes, "thus seem to intersect with those implicit in a Western world that was struggling with its own transition into the modern," rendering the films' task inevitably paradoxical and difficult