The Promise Of Cinema

Rich in implications for our present era of media change, The Promise of Cinema offers a compelling new vision of film theory. The volume conceives of “theory” not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity’s most powerful new medium. We encounter lesser-known essays by Béla Balázs, Walter Benjamin, and Siegfried Kracauer alongside interventions from the realms of aesthetics, education, industry, politics, science, and technology. The book also features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. Nearly all documents appear in English for the first time; each is meticulously introduced and annotated. The most comprehensive collection of German writings on film published to date, The Promise of Cinema is an essential resource for students and scholars of film and media, critical theory, and European culture and history.

From USA Today bestselling author Julianne MacLean comes the next instalment in her popular Color of Heaven Series, where people are affected by real life magic and miracles that change everything they once believed about life and love. Having spent a lifetime in competition with his older brother Aaron—who always seemed to get the girl—Jack Peterson leaves the U.S. to become a foreign correspondent in the Middle East. When a roadside bomb forces him to return home to recover from his wounds, he quickly becomes the most celebrated journalist on television, and is awarded his own prime time news program. Now, wealthy and successful beyond his wildest dreams, Jack believes he has finally found where he is meant to be. But when a 747 explodes in the sky over his summer house in Cape Elizabeth, all hell breaks loose as the wreckage crashes to the ground. He has no idea that his life is about to take another astonishing turn… Meg Andrews grew up with a fear of flying, but when it meant she wouldn’t be able to visit her boyfriend on the opposite side of the country, she confronted her fear head-on and earned her pilot’s license. Now, a decade later, she is a respected airline crash investigator, passionate about her work, to the point of obsession. When she arrives in the picturesque seaside community of Cape Elizabeth to investigate a massive airline disaster, she meets the famous and charismatic Jack Peterson, who has his own personal fascination with plane crashes. As the investigation intensifies, Meg and Jack feel a powerful, inexplicable connection to each other. Soon, they realize that the truth behind the crash—and the mystery of their connection—can only be discovered through the strength of the human spirit, the timeless bonds of family, and the gift of second chances. Praise for the novels in the Color of Heaven Series: “I never know what to say about a Julianne MacLean book, except to say YOU HAVE TO READ IT." - AllRomanceReader.ca "The Color of Time is an emotionally charged, riveting exploration of how our lives may change within the scope of a single event. And sometimes what we want isn’t always what we need. Fabulous, thought-provoking read." — Tanya Anne Crosby, New York Times bestselling author "I was so pulled into this story I thought at times I WAS the character. Julianne MacLean certainly grabbed me with this book. I absolutely loved it! ...It all felt so real. It's like Alice falling through the rabbit hole, I got to live out someone else's life if only through my own imagination." - Micky at Goodreads "Wow! This is one of those "l couldn't put it down" books. The penny dropped right at the end of this amazing story as to why it is titled "The Color of Forever". Believe me when I say that this is a page turner like you have never read before." - Zena at Goodreads "It makes the reader think about what could have been, and loves past, and makes you wonder if you are leading the life you're meant to be leading. Thought-provoking, emotionally-intense and riveting, Ms. MacLean delivers another 5-star romance in The Color of Forever" - Nancy at Goodreads "There are just not enough words for me to explain how much I loved this book! " - Debi at Goodreads

Introduction. Photographs as rupture and affect in German film / Carrie Collenberg-González and Martin P. Sheehan -- Layers of exposure : the photographic approach in Gerhart Lamprecht's Zille film, Slums of Berlin (1925) / Jason Doerre -- Objecting objects : photographs and subjectivity in The blue angel (1930) / Martin P. Sheehan -- Before- and afterlives : on the stillness of photographs at the outset of Adenauer cinema / John Davidson -- Filming after Walker Evans : Wim Wenders' "American pictures" in Kings of the road (1976) / Stefanie Harris -- The transgression of overpainting : Jürgen Böttcher's radical experiments with intermediality in Transformations (1981) / Matthew Bauman -- The promise of agency : photographs and value in Tattoo (2002) / Cynthia Porter -- Curating the image : visual intertextuality in The Baader Meinhof Complex (2008) / Reinhard Zachau -- Re-presenting German heritage films : photographic memory in Aimee & Jaguar (1999), Good bye Lenin! (2003), and Almanya-Welcome to Germany (2011) / Carrie Collenberg-Gonzalez -- Imaging the "good life" : destabilizing subjecthood and conceptions of the normative family in Ghosts (2005) / Simone Pfleger -- Violence, death, and photographs : capturing the (un)dead in Rammbock (2010) / Melissa Etzler -- Possible archives : encountering a surveillance photo in Karl Marx City (2016) / Anke Pinkert -- Afterword. Toward a camera ludica : agency and photography in Videogame ecologies / Curtis L. Maughan.

"We all have images that we find unwatchable, whether for ethical, political, or sensory-affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphic horror films to incendiary artworks that provoke mass boycotts, many of the images in our media culture strike as beyond the pale of consumption. Yet what does it mean to proclaim a media object "unwatchable": disturbing, revolting, poor, tedious, or literally inaccessible? Appealing to a broad academic and general readership, Unwatchable offers multidisciplinary approaches to the vast array of troubling images that circulate in our global visual culture, from cinema, television, and video games through museums and classrooms to laptops, smart phones, and social media platforms. This anthology assembles 60 original essays by scholars, theorists, critics, archivists, curators, artists, and filmmakers who offer their own responses to the broadly suggestive question: What do you find unwatchable? The diverse answers include iconoclastic artworks that have been hidden from view, dystopian images from the political sphere, horror movies, TV advertisements, classic films, and recent award-winners"--

By the time the Berlin Wall collapsed, the cinema of the German Democratic Republic—to the extent it was considered at all—was widely regarded as a footnote to European film history, with little of enduring value. Since then, interest in East German cinema has exploded, inspiring innumerable festivals, books, and exhibits on the GDR’s rich and varied filmic output. In Re-Imagining DEFA, leading international experts take stock of this vibrant landscape and plot an ambitious course for future research, one that considers other cinematic traditions, brings genre and popular works into the fold, and encompasses DEFA’s complex post-unification “afterlife.”

This collection demonstrates the diverse legacy of feminist film studies. From female agencies in television series to digitized heroines in film to the aging female star, Feminisms combines compelling analyses of contemporary images of women and their narratives with reflections and interviews on the developments and differentiation in the history, theory, and practice of women and film and in the larger field of media studies.

Bringing together the work of scholars in many disciplines, Women in the Metropolis provides a comprehensive introduction to women's experience of modernism and urbanization in Weimar Germany. It shows women as active participants in artistic, social, and political movements and documents the wide range of their responses to the multifaceted urban culture of Berlin in the 1920s and 1930s. Examining a variety of media ranging from scientific writings to literature and the visual arts, the authors trace gendered discourses as they developed to make sense of and regulate emerging new images of femininity. Besides treating classic films such as Metropolis and Berlin: Symphony of a Great City, the articles discuss other forms of mass culture, including the fashion industry and the revue performances of Josephine Baker. Their emphasis on women's critical involvement in the construction of their own modernity illustrates the significance of the Weimar cultural experience and its relevance to contemporary gender, German, film, and cultural studies.

By exploring the use of film in mid-twentieth-century institutions, including libraries, museums, classrooms, and professional organizations, the essays in Useful Cinema show how moving images became an ordinary feature of American life. In venues such as factories and community halls, people encountered industrial, educational, training, advertising, and other types of “useful cinema.” Screening these films transformed unlikely spaces, conveyed ideas, and produced subjects in the service of public and private aims. Such functional motion pictures helped to shape common sense about cinema’s place in contemporary life. Whether measured in terms of the number of films shown, the size of audiences, or the economic activity generated, the “non-theatrical sector” was a substantial and enduring parallel to the more spectacular realm of commercial film. In Useful Cinema, scholars examine organizations such as UNESCO, the YMCA, the Amateur Cinema League, and the Metropolitan Museum of Art. They also consider film exhibition sites in schools, businesses, and industries. As they expand understanding of this other American cinema, the contributors challenge preconceived notions about what cinema is. Contributors. Charles R. Acland, Joseph Clark, Zoë Druick, Ronald Walter Greene, Alison Griffiths, Stephen Groening, Jennifer Horne, Kirsten Ostherr, Eric Smoodin, Charles Tepperman, Gregory A. Waller, Haidee Wasson. Michael Zryd