Departing from those who define postmodernism in film merely as a visual style or set of narrative conventions, Anne Friedberg develops the first sustained account of the cinema's role in postmodern culture. She explores the ways in which nineteenth-century visual experiences—photography, urban strolling, panorama and diorama entertainments—anticipate contemporary pleasures provided by cinema, video, shopping malls, and emerging "virtual reality" technologies. Comparing the visual practices of shopping, tourism, and film-viewing, Friedberg identifies the experience of "virtual" mobility through time and space as a key determinant of postmodern cultural identity. Evaluating the theories of Jameson, Lyotard, Baudrillard, and others, she adds critical insights about the role of gender and gender mobility in the configurations of consumer culture. A strikingly original work, Window Shopping challenges many of the existing assumptions about what exactly postmodern is. This book marks the emergence of a compelling new voice in the study of contemporary culture.
From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti's metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple 'windows' coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
Guided by Time Magazine's list of 100 most influential people, this series of 64-page biographies focuses on the leaders, scientists, and icons who shaped our world. These people, many from very humble beginnings, changed how the world works. Each biography includes a glossary, timeline, and illustrations. An individual guide for each title provides reproducible activities to extend the text. Born in Germany in 1929, Anne Frank was a teenager during World War II. Because Anne was Jewish, she and her family were forced to escape the terror of the Holocaust that swept the continent. Beginning in 1942, Anne kept a diary of the difficult journey of her family. See how Anne's family tried to escape the horror of the war, and how her diary became her best friend.
A photographic history that sets Anne Frank's personal story against the backdrop of Hitler's rise to power, the extermination of the Jews and the final Allied victory. This visual history documents the great evil that destroyed Anne Frank's world, but also reveals how racism is thriving today.
Anne Frank's diary is one of the most recognised and widely read books of the Second World War. Hundreds of thousands of people visit the Anne Frank House on the Prinsengracht in Amsterdam each year to see the annexe where Anne and her family hid from the occupying forces, before eventually being deported to Auschwitz in 1944. Only Anne's father, Otto, survived the Holocaust. Anne Frank: The Collected Works includes each of the versions of Anne's world-famous diary including the 'A' and 'B' diaries now in continuous, readable form, and the definitive text ('D') edited by renowned translator and author Mirjam Pressler. For the first time readers have access to Anne's letters, personal reminiscences, daydreams, essays and notebook of favourite quotes. Also included are background essays by notable writers such as historian Gerhard Hirschfeld (University of Stuttgart) and Francine Prose (Bard College) on topics such as 'Anne Frank's Life', 'The History of the Frank Family' and 'The Publication History of Anne Frank's diary', as well as numerous photographs of the Franks and the other occupants of the annexe. An essential book for scholars and general readers alike, The Collected Works brings together for the first time Anne Frank's complete writings, together with important images and documents. Supported by the Anne Frank Fonds in Basel, Switzerland, set up by Otto Frank to act as the guardian of Anne's work, this is a landmark publication marking the anniversary of 90 years since Anne's birth in 1929.
Anne Frank's story has been read by millions worldwide -- now this new book reveals the images behind her famous words. Will I ever be able to write something great, will I ever become a journalist or a writer? I hope so, oh, I hope so very much, because writing allows me to record everything, all my thoughts, ideals and fantasies. This is what Anne Frank confided in her diary on 5 April 1944. Her wish did come true, but she herself was never to know that. Anne died in March 1945 in Bergen-Belsen concentration camp. She was fifteen years old. This book tells the story of her life and shows it in the context of world events and World War Two. It answers the many questions that people ask. Where did Anne Frank come from? Why did she have to go into hiding? What did she write in her diary? How was she betrayed? What happened to her after she was arrested? How did her diary survive? It is illustrated with dozens of photographs of Anne, her family and friends.
Photographs, illustrations, and maps accompany historical essays, and diary excerpts, providing an insight to Anne Frank and the massive upheaval which tore apart her world.
From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti's metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple 'windows' coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
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