More than any other director, Werner Herzog is renowned for pushing the boundaries of conventional cinema, especially those between the fictional and the factual, the fantastic and the real. Drawing on over 35 films, this book explores his continuing search for what he has described as the 'ecstatic truth
After the Fact studies the terrain of Holocaust documentaries subsequent to the turn of the twenty-first century. Until now most studies have centered primarily on canonical films such as Shoah and Night and Fog, but over the course of the last ten years filmmaking practices have altered dramatically. Changing techniques, diminishing communities of survivors, and the public's response to familiar, even iconic imagery, have all challenged filmmakers to radically revise and newly envision how they depict the Holocaust. Innovative styles have emerged, including groundbreaking techniques of incorporating archival footage, survivor testimony, and reenactment. Carrying wider implications for the fields of Film Studies, Jewish Studies, and Visual Studies, this book closely analyzes ten contemporary and internationally produced films, most of which have hardly been touched upon in the critical literature or elsewhere.
Michael Cimino's The Deer Hunter was met with both critical and commercial success upon its release in 1978. However, it was also highly controversial and came to be seen as a powerful statement on the human cost of America's longest war and as a colonialist glorification of anti-Asian violence. Brad Prager's study of the film considers its significance as a war movie and contextualizes its critical reception. Drawing on an archive of contemporaneous materials, as well as an in-depth analysis of the film's lighting, mise-en-scène, multiple cameras and shifting depths of field, Prager examines how the film simultaneously presents itself as a work of cinematic realism, while problematically blurring the lines between fact and fiction. While Cimino felt he had no responsibility to historical truth, depicting a highly stylized version of his own fantasies about the Vietnam War, Prager argues that The Deer Hunter's formal elements were used to bolster his troubling depictions of war and race. Finally, comparing the film with later depictions of US-led intervention such as Albert and Allen Hughes's Dead Presidents (1995) and Spike Lee's Da Five Bloods (2020), Prager illuminates The Deer Hunter's major presumptions, blind spots and omissions, while also presenting a case for its classic status.
Werner Herzog is renowned for pushing the boundaries of conventional cinema, especially those between the fictional and the factual, the fantastic and the real. The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth is the first study in twenty years devoted entirely to an analysis of Herzog's work. It explores the director's continuing search for what he has described as 'ecstatic truth,' drawing on over thirty-five films, from the epics Aguirre: Wrath of God (1972) and Fitzcarraldo (1982) to innovative documentaries like Fata Morgana (1971), Lessons of Darkness (1992), and Grizzly Man (2005). Special attention is paid to Herzog's signature style of cinematic composition, his "romantic" influences, and his fascination with madmen, colonialism, and war.
Crosses disciplinary boundaries to explore German Romantic writing about visual experience and the interplay of text and image in Romantic epistemology. The work of the groundbreaking writers and artists of German Romanticism -- including the writers Tieck, Brentano, and Eichendorff and the artists Caspar David Friedrich and Philipp Otto Runge -- followed from the philosophical arguments of the German Idealists, who placed emphasis on exploring the subjective space of the imagination. The Romantic perspective was a form of engagement with Idealist discourses, especially Kant's Critique of Pure Reason and Fichte's Science of Knowledge. Through an aggressive, speculative reading of Kant, the Romantics abandoned the binary distinction between the palpable outer world and the ungraspable space of the mind's eye and were therefore compelled to develop new terms for understanding the distinction between "internal" and "external." In this light, Brad Prager urges a reassessment of some of Romanticism's major oppositional tropes, contending that binaries such as "self and other," "symbol and allegory," and "light and dark," should be understood as alternatives to Lessing's distinction between interior and exterior worlds. Prager thus crosses the boundaries between philosophy, literature, and art history to explore German Romantic writing about visual experience, examining the interplay of text and image in the formulation of Romantic epistemology. Brad Prager is Associate Professor of Germanat the University of Missouri, Columbia.
Offers not only a close reading but also a film-historical contextualization of Phoenix, constituting the most significant and thorough study of Petzold's film to date. Christian Petzold's Phoenix (2014), a masterpiece from one of Germany's leading contemporary filmmakers, portrays a death-camp survivor's return to occupied Berlin just after the war has come to an end. Nelly, played by German film star Nina Hoss, returns badly wounded, her face covered in bandages, hoping that her German husband will still love her. Johnny fails to recognize her and instead offers her a role in an intricate criminal scheme. Petzold's film, which he scripted together with his frequent collaborator Harun Farocki, was an international success that has been widely compared with works by Alfred Hitchcock and Rainer Werner Fassbinder. This study explores the film's unique array of influences including the vast range of films, novels, and memoirs on which its screenwriters drew. Its central argument concerns the film's integration of a long history of German-Jewish works and ideas-its attempt to confront its audience with a neglected tradition that included figures as diverse as Peter Lorre, Fred Zinnemann, and Hannah Arendt. Offering a close reading of the film's themes, compositions, and music alongside a film-historical contextualization, this book constitutes the most significant and thorough study of Phoenix to date. Brad Prager is Professor of German and Film Studies at the University of Missouri.
Michael Cimino's The Deer Hunter was met with both critical and commercial success upon its release in 1978. However, it was also highly controversial and came to be seen as a powerful statement on the human cost of America's longest war and as a colonialist glorification of anti-Asian violence. Brad Prager's study of the film considers its significance as a war movie and contextualizes its critical reception. Drawing on an archive of contemporaneous materials, as well as an in-depth analysis of the film's lighting, mise-en-scène, multiple cameras and shifting depths of field, Prager examines how the film simultaneously presents itself as a work of cinematic realism, while problematically blurring the lines between fact and fiction. While Cimino felt he had no responsibility to historical truth, depicting a highly stylized version of his own fantasies about the Vietnam War, Prager argues that The Deer Hunter's formal elements were used to bolster his troubling depictions of war and race. Finally, comparing the film with later depictions of US-led intervention such as Albert and Allen Hughes's Dead Presidents (1995) and Spike Lee's Da Five Bloods (2020), Prager illuminates The Deer Hunter's major presumptions, blind spots and omissions, while also presenting a case for its classic status.
After the Fact studies the terrain of Holocaust documentaries subsequent to the turn of the twenty-first century. Until now most studies have centered primarily on canonical films such as Shoah and Night and Fog, but over the course of the last ten years filmmaking practices have altered dramatically. Changing techniques, diminishing communities of survivors, and the public's response to familiar, even iconic imagery, have all challenged filmmakers to radically revise and newly envision how they depict the Holocaust. Innovative styles have emerged, including groundbreaking techniques of incorporating archival footage, survivor testimony, and reenactment. Carrying wider implications for the fields of Film Studies, Jewish Studies, and Visual Studies, this book closely analyzes ten contemporary and internationally produced films, most of which have hardly been touched upon in the critical literature or elsewhere.
The author of Human Dignity and Contemporary Liberalism argues that the nature and application of contemporary liberalism is significantly dissonant with the deepest inclinations and most persistent moral sentiments of human beings, and it therefore distorts human self-understanding and defaces human dignity. This mismatch between human nature and the essence of contemporary liberalism hobbles our public life, and—the author suggests—is the Gordian knot that must be loosed if the new millennium is to manifest a more humane and satisfying American civitas. This wide-ranging book begins with a discussion of certain consequences and implications of contemporary liberalism's heavy emphasis on individual rights, moving into a reflection on two general categories of human dignity, suggesting that there is in contemporary liberal thought a lack of clarity concerning the meaning and gravity of this concept. The focus then shifts to the idea of desert or deservingness. The viability of desert, rightly understood, is advanced as a useful general concept for understanding American public life, and as an important tool for restoring a measure of common sense to our politics. The second section of the book concentrates on the actual application of contemporary liberalism's values as it has occurred since the 1960s, particularly in the culturally contentious areas of race and abortion. Emerging from this survey is an unflattering image of a political paradigm which, according to the author, must be abandoned, or at least radically revised, if America is to strike a posture of moral intensity and genuine social understanding.
Brad Stetson and Joseph G. Conti explore the use and misuse of the value of tolerance in academic circles and popular media, demonstrating that Christian conviction about religious truth provides the only secure basis for a tolerant society which promotes truth seeking.
One of the unspoken aspects of mourning concerns the ways that loss affects our intimate relationships and our sexual expressiveness. This text opens these subjects for conversation, with the aim of promoting the trust, care, and respect that enable us to be vulnerable. It purposefully covers a range of topics, including: (1) the meaning of intimacy and the significance of sexuality, providing a basis for the use of these terms throughout the book; (2) death, grief, and differences in sexual orientation, including death and intimacy in the lesbian, gay, bisexual, and transgender (LGBT) community and the losses endured by young people due to gender issues; (3) loss of relationship and restoration of intimacy in families, including pharmacological effects on the grief processes of widowers; grieving a not-so-loved parent; the "layered losses" of infertility and intimacy; and the tolls of war--intimacy and sexuality challenges for soldiers and their families; (4) adjusting to life's losses associated with aging or illness or infirmity, including Alzheimer's and dementia-related illnesses, physical health losses after 50, and intimacy, sex, and hospice--self-determination and dignity at the end of life; and (5) religious bases that have shaped our perspectives for understanding intimacy, sexuality, and healing after loss, and which give us hope--including the spiritual reflections of a rabbi and a Christian voice in defining what is right. Set in a framework that is both psychological and spiritual, the well-researched contributions are intended to acknowledge these experiences both professionally and personally. The book concludes with an extensive bibliography, valuable for research and reference. This book will be of value in undergraduate and graduate courses on thanatology, as well as for anyone interested in knowing more about grief--both those currently bereaved and those who wish to support others in mourning. The contributors appreciate both the importance of our capacities for intimacy and sexuality and our inhibitions and hesitations in giving voice to our needs and concerns, perhaps especially when we are grieving. The information and compassionate understanding they provide encourage us to bridge the gap between the secret and the private and to share what is close to our hearts.
What does it mean to live dangerously? This is not just a philosophical question or an ethical call to reflect upon our own individual recklessness. It is a deeply political issue, fundamental to the new doctrine of ‘resilience’ that is becoming a key term of art for governing planetary life in the 21st Century. No longer should we think in terms of evading the possibility of traumatic experiences. Catastrophic events, we are told, are not just inevitable but learning experiences from which we have to grow and prosper, collectively and individually. Vulnerability to threat, injury and loss has to be accepted as a reality of human existence. In this original and compelling text, Brad Evans and Julian Reid explore the political and philosophical stakes of the resilience turn in security and governmental thinking. Resilience, they argue, is a neo-liberal deceit that works by disempowering endangered populations of autonomous agency. Its consequences represent a profound assault on the human subject whose meaning and sole purpose is reduced to survivability. Not only does this reveal the nihilistic qualities of a liberal project that is coming to terms with its political demise. All life now enters into lasting crises that are catastrophic unto the end.
Black conservatism is no oxymoron. Recent polls have indicated that an increasing number of black Americans identified themselves as conservatives, favoring smaller government, lower taxes, tougher crime laws, welfare reform, and personal initiative. While applauding the moral and legal victories of the Civil Rights Movement, the conservative spokespeople in this dynamic new collection reject the claims of inequities and what they consider to be the self-serving agenda of the present civil rights establishment. National leaders such as Justice Clarence Thomas and former Representative Gary Franks and writers such as Shelby Steele and Glenn Loury appear either as contributors or as subjects in this volume. They emphasize the grassroots aspects of black conservatism with a reliance on common sense and common humanity. The strength of the black conservative voice lies in the growth of its numbers and social influence. As more African-Americans shift to the right and embrace conservative ideology, they are signalling what may be one of the most politically significant trends in American public life as the 20th century draws to a close. This provocative collection of essays shatters the myth that black Americans are uniformly left of center and that conservatism is an ideology with a white face. Unique in its personal and political portrait of black conservatives in America, this book shows the remarkable diversity of ideas from one of the most talked-about political movements to emerge in recent years.
Brad Meltzer--author of the #1 New York Times bestseller The Book of Fate--returns with his most thrilling and emotionally powerful novel to date. In Chapter Four of the Bible, Cain kills Abel. It is the world's most famous murder. But the Bible is silent about one key detail: the weapon Cain used to kill his brother. That weapon is still lost to history. In 1932, Mitchell Siegel was killed by three gunshots to his chest. While mourning, his son dreamed of a bulletproof man and created the world's greatest hero: Superman. And like Cain's murder weapon, the gun used in this unsolved murder has never been found. Until now. Today in Fort Lauderdale, Florida, Cal Harper comes face-to-face with his family's greatest secret: his long-lost father, who's been shot with a gun that traces back to Mitchell Siegel's 1932 murder. But before Cal can ask a single question, he and his father are attacked by a ruthless killer tattooed with the anicent markings of Cain. And so begins the chase for the world's first murder weapon. What does Cain, history's greatest villain, have to do with Superman, the world's greatest hero? And what do two murders, committed thousands of years apart, have in common? This is the mystery at the heart of Brad Meltzer's riveting and utterly intriguing new thriller
Discusses current issues about freedom of speech in the United States and expresses the concern that this right might be threatened by a Democratic Congress seeking to minimize opposition to its policies.
**Winner of the 2022 William Randolph Hearst Award for Outstanding Service in Professional Journalism** “People have forgotten how to be funny,” says Chris Vogler in his foreword to What Are You Laughing at? Luckily, experienced and award-winning humor writer Brad Schreiber is here to remind us all how it’s done. If laughter is the best medicine, be prepared to feel fit as a fiddle after perusing these pages. Brad’s clever wit and well-timed punch lines are sure to leave you grasping your sides, while his wise advice will ensure that you’re able to follow in his comedic footsteps. With more than seventy excerpts from such expert prose and screenwriters as Woody Allen, Steve Martin, and Kurt Vonnegut Jr., as well as unique writing exercises for all situations, this comprehensive tutorial will teach you how to write humor prose for any literary form, including screenwriting, story writing, theater, television, and audio/radio. Additionally, readers are given sage advice on different tactics for writing comedic fiction versus comedic nonfiction. Some of the topics discussed include: Life experience versus imagination How to use humor to develop theme/setting, character, and dialogue Rhythm and sound of words Vulgarity and bad taste How to market your humor prose in the digital market Thoroughly revised and updated, and with new information on writing short, humorous films, What Are You Laughing at? is your endless source to learning the art of comedy.
When is a de facto authority not entitled to be considered a 'government' for the purposes of International Law? In this book, Brad Roth offers a detailed examination of collective non-recognition of governments.
Intellectual Property Law is the definitive textbook on the subject. The authors' all-embracing approach not only clearly sets out the law in relation to copyright, patents, trade marks, passing off, and confidentiality, but also takes account of a wide range of academic opinion enabling readers to explore and make informed judgements about key principles. The particularly clear and lively writing style ensures that even the most complex areas are lucid and comprehensible. Digital formats and resources The sixth edition is available for students and institutions to purchase in a variety of formats, and is supported by online resources. The e-book offers a mobile experience and convenient access along with functionality tools, navigation features and links that offer extra learning support: www.oxfordtextbook.co.uk/ebooks
In a work that is as much about the present as the past, Brad Gregory identifies the unintended consequences of the Protestant Reformation and traces the way it shaped the modern condition over the course of the following five centuries. A hyperpluralism of religious and secular beliefs, an absence of any substantive common good, the triumph of capitalism and its driver, consumerism—all these, Gregory argues, were long-term effects of a movement that marked the end of more than a millennium during which Christianity provided a framework for shared intellectual, social, and moral life in the West. Before the Protestant Reformation, Western Christianity was an institutionalized worldview laden with expectations of security for earthly societies and hopes of eternal salvation for individuals. The Reformation’s protagonists sought to advance the realization of this vision, not disrupt it. But a complex web of rejections, retentions, and transformations of medieval Christianity gradually replaced the religious fabric that bound societies together in the West. Today, what we are left with are fragments: intellectual disagreements that splinter into ever finer fractals of specialized discourse; a notion that modern science—as the source of all truth—necessarily undermines religious belief; a pervasive resort to a therapeutic vision of religion; a set of smuggled moral values with which we try to fertilize a sterile liberalism; and the institutionalized assumption that only secular universities can pursue knowledge. The Unintended Reformation asks what propelled the West into this trajectory of pluralism and polarization, and finds answers deep in our medieval Christian past.
Featuring 16 pages of photos, this is the story of Project Rainbow, originally designed to render U.S. Navy warships invisible to enemy radar, but which instead transformed our relationship with Extraterrestrial Intelligence forever.
A “captivating”* look at how center fielder Curt Flood's refusal to accept a trade changed Major League Baseball forever. After the 1969 season, the St. Louis Cardinals traded their star center fielder, Curt Flood, to the Philadelphia Phillies, setting off a chain of events that would change professional sports forever. At the time there were no free agents, no no-trade clauses. When a player was traded, he had to report to his new team or retire. Unwilling to leave St. Louis and influenced by the civil rights movement, Flood chose to sue Major League Baseball for his freedom. His case reached the Supreme Court, where Flood ultimately lost. But by challenging the system, he created an atmosphere in which, just three years later, free agency became a reality. Flood’s decision cost him his career, but as this dramatic chronicle makes clear, his influence on sports history puts him in a league with Jackie Robinson and Muhammad Ali. *The Washington Post
Crosses disciplinary boundaries to explore German Romantic writing about visual experience and the interplay of text and image in Romantic epistemology. The work of the groundbreaking writers and artists of German Romanticism -- including the writers Tieck, Brentano, and Eichendorff and the artists Caspar David Friedrich and Philipp Otto Runge -- followed from the philosophical arguments of the German Idealists, who placed emphasis on exploring the subjective space of the imagination. The Romantic perspective was a form of engagement with Idealist discourses, especially Kant's Critique of Pure Reason and Fichte's Science of Knowledge. Through an aggressive, speculative reading of Kant, the Romantics abandoned the binary distinction between the palpable outer world and the ungraspable space of the mind's eye and were therefore compelled to develop new terms for understanding the distinction between "internal" and "external." In this light, Brad Prager urges a reassessment of some of Romanticism's major oppositional tropes, contending that binaries such as "self and other," "symbol and allegory," and "light and dark," should be understood as alternatives to Lessing's distinction between interior and exterior worlds. Prager thus crosses the boundaries between philosophy, literature, and art history to explore German Romantic writing about visual experience, examining the interplay of text and image in the formulation of Romantic epistemology. Brad Prager is Associate Professor of Germanat the University of Missouri, Columbia.
The author of Human Dignity and Contemporary Liberalism argues that the nature and application of contemporary liberalism is significantly dissonant with the deepest inclinations and most persistent moral sentiments of human beings, and it therefore distorts human self-understanding and defaces human dignity. This mismatch between human nature and the essence of contemporary liberalism hobbles our public life, and—the author suggests—is the Gordian knot that must be loosed if the new millennium is to manifest a more humane and satisfying American civitas. This wide-ranging book begins with a discussion of certain consequences and implications of contemporary liberalism's heavy emphasis on individual rights, moving into a reflection on two general categories of human dignity, suggesting that there is in contemporary liberal thought a lack of clarity concerning the meaning and gravity of this concept. The focus then shifts to the idea of desert or deservingness. The viability of desert, rightly understood, is advanced as a useful general concept for understanding American public life, and as an important tool for restoring a measure of common sense to our politics. The second section of the book concentrates on the actual application of contemporary liberalism's values as it has occurred since the 1960s, particularly in the culturally contentious areas of race and abortion. Emerging from this survey is an unflattering image of a political paradigm which, according to the author, must be abandoned, or at least radically revised, if America is to strike a posture of moral intensity and genuine social understanding.
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