Ichuerorabooks: Juli 2014

Kamis, 31 Juli 2014

> Ebook Spectacular Digital Effects: CGI and Contemporary Cinema, by Kristen Whissel

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By developing the concept of the "digital effects emblem," Kristen Whissel contributes a new analytic rubric to cinema studies. An "effects emblem" is a spectacular, computer-generated visual effect that gives stunning expression to a film's key themes. Although they elicit feelings of astonishment and wonder, effects emblems do not interrupt narrative, but are continuous with story and characterization and highlight the narrative stakes of a film. Focusing on spectacular digital visual effects in live-action films made between 1989 and 2011, Whissel identifies and examines four effects emblems: the illusion of gravity-defying vertical movement, massive digital multitudes or "swarms," photorealistic digital creatures, and morphing "plasmatic" figures. Across films such as Avatar, The Matrix, the Lord of the Rings trilogy, Jurassic Park, Titanic, and Crouching Tiger, Hidden Dragon, these effects emblems heighten the narrative drama by contrasting power with powerlessness, life with death, freedom with constraint, and the individual with the collective.

Sales Rank: #252281 in Books
Published on: 2014-03-07
Original language: English
Number of items: 1
Dimensions: 8.75" h x 6.00" w x .50" l, .0 pounds
Binding: Paperback
224 pages

Review
"Spectacular Digital Effects is a signal contribution to studies of the impact of digital technologies on narrative cinema. It is a wonderful book, one that taught me new ways of thinking about some very familiar objects." (Scott Bukatman, author of Matters of Gravity: Special Effects and Supermen in the 20th Century)

"In this impressive, original book, Kristen Whissel engages with notions of films' spectacular digital effects in ways that go well beyond existing critical templates. She makes a much needed contribution by demonstrating that spectacular digital effects enhance films not only through the thrill of spectacle itself but also by emphasizing core themes and bringing out key moments in the narratives. Whissel's concept of 'digital effects emblems' is an impressive theoretical construction with a great deal of heuristic value, and her writing is as impressive as her analysis." (Stephen Prince, author of Digital Visual Effects in Cinema: The Seduction of Reality)

“The narrative is engaging, and Whissel's analysis of the effects emblem makes a valuable contribution to the scholarly literature of the field. . . . Highly recommended. Upper-division undergraduates through faculty.” (B. H McMillin Choice)

“Spectacular Digital Effects seeks to redeem oft-maligned computer-generated imagery in blockbuster cinema, arguing that the spectacle of digital effects enhances rather than detracts from the narrative. This aim is a much-needed move for balance in the field of media studies, and the conceptual framework, based in the historical study of emblems used in the sixteenth, seventeenth, and eighteenth centuries, is a new and interesting way to think through digital effects.” (Laura Felschow Velvet Light Trap 2015-04-01)

“[B]y offering a focused analysis of the allegorical potential of effects sequences, Spectacular Digital Effects does more than expand a field that has recently received a great deal of attention in film and media studies. The book makes a valuable contribution to developing a new conversation about the complexities of spectacular effects in the cinema.” (Colin Williamson Historical Journal of Film, Radio and Television 2015-04-10)

About the Author

Kristen Whissel is Professor of Film and Media at the University of California, Berkeley. She is the author of "Picturing American Modernity: Traffic, Technology, and the Silent Cinema," also published by Duke University Press.

Most helpful customer reviews

1 of 2 people found the following review helpful.
I had to read this book for my Senior Film ...
By Eduardo
I had to read this book for my Senior Film Theory course; and although it didn't seem so interesting from the title (I was never a big Digital Effects aficionado), this book ended up blowing me away. Dr. Whissel provides a clear explanation of film history and theory within the context of special effects. She will cover past and contemporary theorists in-depth, but in a fluid manner that does not leave the reader confused. She helps condense and explain the ideas of even some of the more dense theorists. I ended up loving this book and changing my opinion on the raison d'être of CGI and effects. I went from believing in escapism to realizing the modernity thesis holds the most weight in this topic.

I bought the Kindle version and never had any trouble with it (I find it easier to have academic writings in electronic version so that I can quickly search for certain terms). If you want to learn more about film history and theory centered on special effects, this is the book for you!

0 of 2 people found the following review helpful.
This purchase arrived in a timely manner. "The master ...
By lilly library
This purchase arrived in a timely manner.

"The master goes beyond the boundless land, and nothing, neither men nor demons nor gods, nothing in all creation can hold him. Monkey is magic, a god, an immortal, but he is less than the Buddha in you."

0 of 4 people found the following review helpful.
Five Stars
By Robert B. Jaffe
Great book came as ordered!

See all 3 customer reviews...

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Minggu, 27 Juli 2014

>> Download Ebook Abalone Tales: Collaborative Explorations of Sovereignty and Identity in Native California (Narrating Native Histories), by Les Field

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For Native peoples of California, the abalone found along the state’s coast have remarkably complex significance as food, spirit, narrative symbol, tradable commodity, and material with which to make adornment and sacred regalia. The large mollusks also represent contemporary struggles surrounding cultural identity and political sovereignty. Abalone Tales, a collaborative ethnography, presents different perspectives on the multifaceted material and symbolic relationships between abalone and the Ohlone, Pomo, Karuk, Hupa, and Wiyot peoples of California. The research agenda, analyses, and writing strategies were determined through collaborative relationships between the anthropologist Les W. Field and Native individuals and communities. Several of these individuals contributed written texts or oral stories for inclusion in the book.

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Sabtu, 26 Juli 2014

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Contributors. Paul Amar, Paul Ashton, O. Hugo Benavides, Laurent Dubois, Richard Flores, Durba Ghosh, Albert Grundlingh, Paula Hamilton, Lisa Maya Knauer, Charlotte Macdonald, Mark Salber Phillips, Ruth B. Phillips, Deborah Poole, Anne M. Rademacher, Daniel J. Walkowitz

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Kamis, 24 Juli 2014

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The artists Adrian Piper, Eleanor Antin, Anna Deavere Smith, and Nikki S. Lee have all crossed racial, ethnic, gender, and class boundaries in works that they have conceived and performed. Cherise Smith analyzes their complex engagements with issues of identity through close readings of a significant performance, or series of performances, by each artist. She examines Piper’s public embodiment of the Mythic Being, a working-class black man, during the early 1970s; Antin’s full-time existence as the fictitious black ballerina Eleanora Antinova for several weeks in 1981; and Smith’s shifting among more than twenty characters of different ages and racial, ethnic, gender, and class backgrounds in Twilight: Los Angeles. She also considers Lee’s performances of membership in cultural groups—including swing dancers, hip-hop devotees, skateboarders, drag queens, and yuppies—in her Projects series (1997–2001). The author historicizes the politics of identity by exploring each performance in relation to the discourses prevalent in the United States at the time of its development. She is attentive to how the artists manipulated clothing, mannerisms, voice, and other signs to negotiate their assumed identities. Cherise Smith argues that by drawing on conventions such as passing, blackface, minstrelsy, cross-dressing, and drag, they highlighted the constructedness and fluidity of identity and identifications. Enacting Others provides a provocative account of how race informs contemporary art and feminist performance practices.

Sales Rank: #1059713 in Books
Brand: Brand: Duke University Press Books
Published on: 2011-03-07
Original language: English
Number of items: 1
Dimensions: 9.20" h x 1.00" w x 6.10" l, 1.32 pounds
Binding: Paperback
328 pages

Features

Used Book in Good Condition

Review
“Enacting Others is both an important primer on performance and an exploration of the U.S. obsession with race and its formations. Through impressive studies of four artists, Adrian Piper, Eleanor Antin, Anna Deavere Smith, and Nikki S. Lee, Cherise Smith examines the remarkable reach of the embodied idea and the use of strategies from conceptual art to traditional theater, and tactics from cross-dressing to minstrelsy. Smith’s voice is a welcome addition to writing on contemporary art. It will redefine how we understand performance’s ability to display and address differentials of power.”—Kellie Jones, author of EyeMinded: Living and Writing Contemporary Art

“Cherise Smith writes eloquently against the notion of post-identity politics, using her understanding of the persistent ‘politics of identity’ to trace the boundary-crossing practices of these four important artists. Smith discusses spectators’ identification strategies, but keeps an astute critical eye on the material corporeal circumstances of living within identity at this particular historical moment. From minstrelsy to passing, drag to embodiment, Smith parses theoretical tropes to study performance as a laboratory for experiments with human identity. Using personal memory and theory alongside political insights, the book treats a useful range of examples, from popular culture, to film, to art historical performance, to performance in everyday life. Enacting Others makes a vital contribution to gender and critical race studies.”—Jill Dolan, author of Utopia in Performance: Finding Hope at the Theater

“Smith carefully contextualizes the work of the artists within the their art-historical milieus while arguing for the limits of these framings. This [is a] careful contextual consideration.” (Patricia Ybarra American Literature)

“Smith’s study helps us continue necessary discussions of how to stage our struggles against oppressions of all kinds, as well as to contend with the limitations of our own vision.” (Jayna Brown Art Journal)

“I welcome Smith’s willingness to grapple with the ambivalent feelings these artworks provoke.” (Helena Rickitt Times Higher Education Supplement)

“Smith avoids models of progressivism or generational overthrow in favor of a cool, evidence-based analysis. Following the artists’ tactics, the book moves from the relative simplicity of declaring singular, marked identity as a political position, through acknowledgment of intersectionality, to a universalist turn toward humanism, ending with postidentity positionalities. The strength of Smith’s analysis is that it is alert to the continuing evolution of the politics of identity in art.” (Margo Hobbs Thompson Signs)

“Smith’s clear prose and sharp-eyed observations make this book more than worthwhile for any reader. It leaves one pondering further how race is performed, staged, read, and recognized in the projects of an intriguing collection of important artists.” (Jennifer DeVere Brody Modern Drama)

“Enacting Others offers a timely reminder of how shifting notions of identity have vitally shaped, and continue to reshape, American art and politics. Contributing to studies of race and gender, performance studies, and art history, Enacting Others explores how boundary-crossing performances by four prominent artists engaged with contemporaneous discourses about identity.” (Ju Yon Kim Theatre Journal)

“Enacting Others is one of the most intriguing art history books in recent years. . . . This is a book of tremendous importance that will do much to advance our understandings of not only the four artists under consideration but also the cultural, artistic, social, and political particularities of the moments in which their work was produced.” (Eddie Chambers Nka)

About the Author

Cherise Smith is Assistant Professor of Art History at the University of Texas, Austin.

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Selasa, 22 Juli 2014

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In Territories of Difference, Arturo Escobar, author of the widely debated book Encountering Development, analyzes the politics of difference enacted by specific place-based ethnic and environmental movements in the context of neoliberal globalization. His analysis is based on his many years of engagement with a group of Afro-Colombian activists of Colombia’s Pacific rainforest region, the Proceso de Comunidades Negras (PCN). Escobar offers a detailed ethnographic account of PCN’s visions, strategies, and practices, and he chronicles and analyzes the movement’s struggles for autonomy, territory, justice, and cultural recognition. Yet he also does much more. Consistently emphasizing the value of local activist knowledge for both understanding and social action and drawing on multiple strands of critical scholarship, Escobar proposes new ways for scholars and activists to examine and apprehend the momentous, complex processes engulfing regions such as the Colombian Pacific today.

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Earth Politics focuses on the lives of four indigenous activist-intellectuals in Bolivia, key leaders in the Alcaldes Mayores Particulares (AMP), a movement established to claim rights for indigenous education and reclaim indigenous lands from hacienda owners. The AMP leaders invented a discourse of decolonization, rooted in part in native religion, and used it to counter structures of internal colonialism, including the existing racial systems. Waskar Ari calls their social movement, practices, and discourse earth politics, both because the AMP emphasized the idea of the earth and the place of Indians on it, and because of the political meaning that the AMP gave to the worship of the Aymara gods. Depicting the social worlds and life work of the activists, Ari traverses Bolivia's political and social landscape from the 1920s into the early 1970s. He reveals the AMP 's extensive geographic reach, genuine grassroots quality, and vibrant regional diversity. Ari had access to the private archives of indigenous families, and he collected oral histories, speaking with men and women who knew the AMP leaders. The resulting examination of Bolivian indigenous activism is one of unparalleled nuance and depth.

Sales Rank: #567681 in Books
Published on: 2014-02-28
Released on: 2014-02-28
Original language: English
Number of items: 1
Dimensions: 9.00" h x .69" w x 6.00" l, .85 pounds
Binding: Paperback
280 pages

Review
"In this fascinating study, the historian Waskar Ari explores the influence of religious beliefs and the evolving concept of 'Indian Law' to understand how indigenous intellectuals in Bolivia constructed a politics that valued heterogeneity and autonomy over accommodation or assimilation. Earth Politics is essential reading for anyone interested in race, ethnicity, and political struggles in Latin America." (Barbara Weinstein, coeditor of The Making of the Middle Class: Toward a Transnational History)

"Waskar Ari is a well-known Bolivian historian and activist, one who speaks Aymara and has deep roots in rural indigenous Bolivia. He has built deep relationships of trust and responsibility through his long-standing work with indigenous community leaders. Using a startlingly original set of archival and oral materials, he has produced an important book that opens up an entirely unknown episode in the history of Bolivian and, more generally, Latin American indigenous movements." (Brooke Larson, author of Trials of Nation Making: Liberalism, Race, and Ethnicity in the Andes, 1810–1910)

"A good summary of the Bolivian AMP for all Latin American social science researchers. . . . Highly recommended. All levels and libraries." (D. L. Browman Choice)

"This is really a treasure, a lens into the lives, visions, and political practices of the forebears of the contemporary movement that is changing Bolivia." (Nancy Postero & Devin Beaulieu Journal of the Royal Anthropological Institute)

"This book is recommended for readers interested in indigenous history, Andean religious practices, or for use in courses on law, politics, or race in Latin America." (Colonial Latin American Historical Review 2014-07-01)

About the Author

Waskar Ari is Assistant Professor of History and Ethnic Studies/Latin American Studies at the University of Nebraska, Lincoln.

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Senin, 21 Juli 2014

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A major contribution to both art history and Latin American studies, A Culture of Stone offers sophisticated new insights into Inka culture and the interpretation of non-Western art. Carolyn Dean focuses on rock outcrops masterfully integrated into Inka architecture, exquisitely worked masonry, and freestanding sacred rocks, explaining how certain stones took on lives of their own and played a vital role in the unfolding of Inka history. Examining the multiple uses of stone, she argues that the Inka understood building in stone as a way of ordering the chaos of unordered nature, converting untamed spaces into domesticated places, and laying claim to new territories. Dean contends that understanding what the rocks signified requires seeing them as the Inka saw them: as potentially animate, sentient, and sacred. Through careful analysis of Inka stonework, colonial-period accounts of the Inka, and contemporary ethnographic and folkloric studies of indigenous Andean culture, Dean reconstructs the relationships between stonework and other aspects of Inka life, including imperial expansion, worship, and agriculture. She also scrutinizes meanings imposed on Inka stone by the colonial Spanish and, later, by tourism and the tourist industry. A Culture of Stone is a compelling multidisciplinary argument for rethinking how we see and comprehend the Inka past.

Sales Rank: #830093 in Books
Brand: Brand: Duke University Press Books
Published on: 2010-10-21
Original language: English
Number of items: 1
Dimensions: 9.20" h x 1.00" w x 6.00" l, 1.25 pounds
Binding: Paperback
320 pages

Features

Used Book in Good Condition

Review
“Art historian Dean has provided perhaps the best interpretation of how the
Inkas saw their environment, particularly their lithic one, and how this motivated their actions. . . . Her judicious use of historical documents, combined with thoughtful and critical analysis of contemporary Andean concepts that appear rooted in their pre-Hispanic ancestry, provides a new and refreshing perspective for understanding the Inkas’ culture of stone.” - Michael Malpass, Comparative Studies in Society and History

“A Culture of Stone is beautifully written. . . . As a study of ancient rocks, their material texture, location and relationship to other features in the landscape, as well as their social agency during Inka times, A Culture of Stone is a welcome intervention and will be of interest to students of material worlds, anthropologists, archaeologists, as well as scholars of Peru and Latin America.” - Haidy L Geismar, Material Worlds blog

“As a study of the rocks themselves, their material texture, location and relationship to other features in the landscape, as well as their social agency, A Culture of Stone is a welcome intervention in art history, and will also be of interest to anthropologists, archaeologists, and scholars of Peru and Latin America.” - Sandra Rozental, Journal of Latin American and Caribbean Anthropology

“In her exquisitely researched, articulate, and annotated book, Carolyn Dean explores the Inka love affair with stone and demonstrates the near-universal role played by the material in Inka cultural and spiritual life. . . . Dean has made a strong contribution to the ﬁeld of Andean studies, one well presented and worth reading.” - Vincent R. Lee, American Historical Review

“[Dean’s] book has implications far beyond its locus in Latin America. ... [I]t represents an intervention into current debates about world art history. Dean suggests a way in which the interpretation of human interactions with nature that in the European tradition are called art and architecture may be imaginatively reconstructed with terms and concepts that are not Eurocentric.” - Thomas DeCosta Kaufmann, CAA Reviews

“By addressing both well-known and understudied objects, Carolyn Dean offers sophisticated new insights into Inka practices. Moreover, while advancing scholarship on the colonial Andes, she tackles issues relating to the interpretation of non-Western art and its reception, contributing to debates on material objects and the built environment in a wide range of fields.”—Dana Leibsohn, Smith College

“Gold, silver, and weaving are the riches most often associated with the Inka, but as Carolyn Dean’s scholarly study demonstrates, their greatest investment of thought and time was in stone. Moving between descriptions of the magnificent walls of Inka imperial buildings and worked stones in situ, Dean links them as related parts of Inka visual expression, which is hard to comprehend and not easily recognized. But, as Dean stresses, there is an intimate relationship between Andeans and stone that is at the heart of the greatest empire of Ancient America.”—Thomas B. F. Cummins, Harvard University

“The sixteenth-century Spanish priest Cristóbal de Albornoz noted that over half of the sacred things in the Inka capital of Cuzco were rocks. In her stimulating new book, Carolyn Dean explores this ‘culture of stone,’ examining ways in which rock outcrops and other rock forms were the focus of ritual practice and spiritual belief. Illuminating key aspects of pre-Hispanic understandings of landscape and the built environment, this insightful and thought-provoking study reframes the way we consider the Inka visual world.”—Joanne Pillsbury, Director of Pre-Columbian Studies, Dumbarton Oaks

“[Dean’s] book has implications far beyond its locus in Latin America. ... [I]t represents an intervention into current debates about world art history. Dean suggests a way in which the interpretation of human interactions with nature that in the European tradition are called art and architecture may be imaginatively reconstructed with terms and concepts that are not Eurocentric.” (Thomas DeCosta Kaufmann, CAA Reviews)

“Art historian Dean has provided perhaps the best interpretation of how the
Inkas saw their environment, particularly their lithic one, and how this motivated their actions. . . . Her judicious use of historical documents, combined with thoughtful and critical analysis of contemporary Andean concepts that appear rooted in their pre-Hispanic ancestry, provides a new and refreshing perspective for understanding the Inkas’ culture of stone.” (Michael Malpass, Comparative Studies in Society and History)

“As a study of the rocks themselves, their material texture, location and relationship to other features in the landscape, as well as their social agency, A Culture of Stone is a welcome intervention in art history, and will also be of interest to anthropologists, archaeologists, and scholars of Peru and Latin America.” (Sandra Rozental, Journal of Latin American and Caribbean Anthropology)

“A Culture of Stone is beautifully written. . . . As a study of ancient rocks, their material texture, location and relationship to other features in the landscape, as well as their social agency during Inka times, A Culture of Stone is a welcome intervention and will be of interest to students of material worlds, anthropologists, archaeologists, as well as scholars of Peru and Latin America.” (Haidy L Geismar, Material Worlds blog)

From the Back Cover
"By addressing both well-known and understudied objects, Carolyn Dean offers sophisticated new insights into Inka practices. Moreover, while advancing scholarship on the colonial Andes, she tackles issues relating to the interpretation of non-Western art and its reception, contributing to debates on material objects and the built environment in a wide range of fields."--Dana Leibsohn, Smith College

About the Author

Carolyn Dean is Professor in the History of Art and Visual Culture Department at the University of California, Santa Cruz. She is the author of Inka Bodies and the Body of Christ: Corpus Christi in Colonial Cuzco, Peru, also published by Duke University Press.

Most helpful customer reviews

3 of 3 people found the following review helpful.
Wonderful Book!
By Rockman
I read this book before, during and after a recent trip to Peru. It was extremely useful as a tool to help me understand the WHY of Inca stonework. A scholarly volume written from the heart that gives credit where credit is due.

0 of 0 people found the following review helpful.
Fascinating
By hazmatdance
This is a fascinating book. I am not qualified to evaluate Dean's scholarship other than to say it's convincing, and perhaps her insights are truly original. According to her, the Inka thought rocks were people… but not all rocks, and not all the time. There's a lot of advanced vocabulary like "lithic embodiments" so get your dictionary out. She does not romanticize the Inka in any way. They were empire-builders who built their famous stone monuments using large amounts of conscripted labor and very limited technology. And even though she presents their beliefs very carefully and eloquently, she never claims to share them.

0 of 0 people found the following review helpful.
Liked it so much that I bought copies for every ...
By Sherryanne
Liked it so much that I bought copies for every Peruvian I could think of. The philosophy of the relationship with stone is excellent and so different from what the local guides are telling the tourists. Enlightening.

See all 5 customer reviews...

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