Beyond Textuality

In the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the 'long durée' of the 20th century and into the 21st. By raising the issue of 'beyond the essay film', this collection seeks not only to acknowledge the influential predecessors of this -- in the view of many critics, the most interesting type of contemporary filmmaking -- but also to speculate about its possible transformation as we move forward into the uncharted waters of the 21st -- digital -- century. Beyond the Essay Film focusses on three specific axes that underpin and shape the articulation of the essay film as a specific cultural form -- subjectivity, textuality, and technology -- to explore how changes along and across these dimensions affect historical shifts within the essay-film practice and its relation to other types of cinema and neighbouring art forms.

This volume contains chapters derived from papers presented at the 3rd Global Conference on Visual Literacies: Exploring Critical Issues held in Oxford, UK, July 14th through the 16th, 2009. The conference brought together a broad range of cultural, artistic and academic participants.

Although the law on infringement is relatively straightforward in relation to the copying of literal and textual elements of software, it is the copying of non-literal and functional elements that poses complex and topical questions in the context of intellectual property (IP) protection. In many cases, it is these non-literal and functional elements that contain the real value of a software product. This book concerns the copying of non-literal and functional elements of software in both the United States and European Union, using a holistic approach to address the most topical questions facing experts concerned with legal protection of software products across a range of technological platforms. The book focuses on six distinct but interrelated areas: contract, copyright, patents, trade-dress, designs and trade secrets, discussing these areas separately and in relation to one another. The book discusses software as a multilayered functional product, setting the scene for other legal discussions by highlighting software's unique characteristics. It examines models for the provision of software, addressing licensing patterns and overall enforceability, as well as the statutory and judicial tools for regulating the use of such licences. It assesses the protection of non-literal and functional software elements under EU and US laws, focusing on internal architecture, interfaces, behavioural elements and GUIs.

Textuality and Tectonics seeks neither to gloat upon this threatened bankruptcy, nor to peddle false hopes of a 'quick fix' restructuring under new management. Instead it concentrates upon and argues out the new prospects, alternative projects and liberated commitments opened up by the 'climate of problematization' itself.

Barbara Foley here focuses on the relatively neglected genre of documentary fiction: novels that are continually near the borderline between factual and fictive discourse. She links the development of the genre over three centuries to the evolution of capitalism, but her analyses of literary texts depart significantly from those of most current Marxist critics. Foley maintains that Marxist theory has yet to produce a satisfactory theory of mimesis or of the development of genres, and she addresses such key issues as the problem of reference and the nature of generic distinctions. Among the authors whom Foley treats are Defoe, Scott, George Eliot, Joyce, Isherwood, Dos Passos, William Wells Brown, Ishmael Reed, and Ernest Gaines.