First published in French in 1981 under the title Le declin du nationalisme au Québec, this classic has received considerable critical acclaim. Graham Fraser of the Montreal Gazette wrote, "a suberb book: provocative, ironic, stimulating, and analytical, with a sharp eye for the social meaning of public events. Clift covered Quebec politics as a daily journalist for almost 25 years. He has succeeded in sweeping across events he covered to reduce them to their most substantial conflict." Dominique Clift's perceptive analysis traces two antagonistic trends in recent Quebec history: the growth of nationalism, which reached its high point with the election of René Lévesque in 1967, and the development of individualism at the expense of group solidarity.
(Limelight). From the femme fatale of the early cinema to her post-feminist rebirth, this lavishly illustrated book and comprehensive guide traces the history of these dangerously alluring, manipulative, and desperate lethal ladies. Femme Fatale surveys the history of the femme fatale in world cinema, with more than 300 photographs testifying to the power of these mysterious women. The book begins with the silent period and its vamps, like Theda Bara, Pola Negri, Clara Bow, and Bebe Daniels, then moves on to the Pre-Code sound period of American films, which, showing liberated attitudes toward sex and women, featured actresses like Jean Harlow, Marlene Dietrich, and Greta Garbo. The story continues with the noir 1940s, when the femme fatale became truly lethal including actresses like Ava Gardner, Rita Hayworth, and Barbara Stanwyck. In the repressive 1950s, the international femme fatale took the fore Brigitte Bardot, Maria Felix, Elizabeth Taylor, Anita Ekberg, etc. Finally, the authors turn to the revolutionary post-feminist modern period, with an array of lethal ladies from all over the world, like Pam Grier, Salma Hayek, Gong Li, Angelina Jolie, and Sharon Stone.
For more than a century, posters, advertisements, and brochures have characterized Canada as a desirable tourist destination offering spectacular scenery, wild animals, outdoor recreation, and state-of-the-art accommodations. However, these explicitly commercial displays are not the only marketing tools at the country’s disposal; beginning in the 1890s, film also played a role in selling Canada. In Northern Getaway Dominique Brégent-Heald investigates the connections between film and tourism during the first half of the twentieth century, exploring the economic, pedagogical, geopolitical, and socio-cultural contexts and aspirations of tourism films. From the first moving images of the 1890s through the end of the 1950s, a complex web of public and private stakeholders in Canadian tourism experimented, sometimes in collaboration with Hollywood, with a variety of film forms – 16 mm or 35 mm, feature or short films, fiction or nonfiction, professional or amateur filmmakers – to promote Canada. Spectators, particularly Americans, saw Canada as a tourist destination on screens in motion picture theatres, schools, and fairgrounds. Rooted in settler colonial representations that celebrate the nation’s unspoiled but welcoming wilderness landscapes, these films also characterize Canada as a technologically and industrially advanced settler country. Using evidence from a wide range of archival sources and drawing from current scholarship in film history and tourism studies, Northern Getaway demonstrates how Canada was an innovator in using film to shape and project a recognizable destination brand.
Cinema of Obsession traces the history of obsessive love and erotic fixation. Seminal works of obsession, The Blue Angel, Peter Ibbetson, and Phantom of the Opera are seen as setting the groundwork for films that follow. The book defines and surveys examples of the explosive nature of amour fou, issues of male control (no matter how tenuous), and the fugitive couple - love on the run - in such films as Romeo and Juliet, Last Tango in Paris, Vertigo, Basic Instinct, and Wild at Heart. Male masochism is explored through film noirs, including Criss Cross, The Killers, Gilda, and The Postman Always Rings Twice. The book shifts gears in its finale and concentrates on the female gaze, films of female obsession: Jane Eyre, The Piano, The Lover, Fatal Attraction, and Vanilla Sky.
This book takes an interface science approach to describe and understand the behavior of the dispersions we call emulsions, microemulsions and foams. The one thing all these dispersions have in common is the presence of surface-active species (surfactants) adsorbed at the interfaces between the two fluid phases that make up the emulsions, microemulsions or foams. The interfacial layers formed by the surfactants control most of the properties of the dispersions. The book describes the properties of interfacial layers, thin films and bulk fluids used in the elaboration of the various dispersions and it explains how such properties relate to the dispersion properties of these soft matter systems: structure, rheology and stability. These dispersion properties are far from being fully understood, in particular foam and emulsion stability. In discussing the state of the art of the current knowledge, the author draws interesting parallels between emulsions, microemulsions and foams that enlighten the interpretation of previous observations and point to a deeper understanding of the behavior of these materials in the future.
Who Look at Me?!: Shifting the Gaze of Education through Blackness, Queerness, and the Body explores how we, as a society, see Blackness and in particular Black youth. Drawing on a range of sources, the authors argue that the ability to operationalize the sentiment that #BlackLivesMatter, requires seeing Blackness wholly, as queer, and as a site of subversive knowledge production. Continuing the work of June Jordan and Langston Hughes, and based on their work as a Black queer artist collective known as Hill L. Waters, Who Look at Me?! provides alternative tools for reading about and engaging with the lived experiences of Black youth and educational research for and about Black youth. In this way, the book presents not only the possibilities of envisioning teaching and research practices but presents examples that embrace, celebrate, and make room for the fullness of Black and queer bodies and experiences. This work will appeal to those interested in emancipatory methodological and educational practices as well as interdisciplinary conversations related to sociocultural constructions of race and sexuality, politics of Blackness, and race in education.
First published in French in 1981 under the title Le declin du nationalisme au Quebec, this classic has received considerable critical acclaim. Graham Fraser of the Montreal Gazette wrote, "a suberb book: provocative, ironic, stimulating, and analytical, with a sharp eye for the social meaning of public events. Clift covered Quebec politics as a daily journalist for almost 25 years. He has succeeded in sweeping across events he covered to reduce them to their most substantial conflict." Dominique Clift's perceptive analysis traces two antagonistic trends in recent Quebec history: the growth of nationalism, which reached its high point with the election of Rene Levesque in 1967, and the development of individualism at the expense of group solidarity.
La famille Royer affiche prospérité et réussite. Des situations professionnelles enviables, un pavillon cossu, deux enfants superbes... Patrice et Nathalie semblent comblés. Mais sous les apparences, un malaise et des non-dits sommeillent... Leur vie bien rangée explose quand ils reçoivent un SMS de leur fils aîné, Grégoire. Jeune diplômé à New York, il leur annonce son prochain mariage avec une certaine Gala. Guidée par son intuition, Nathalie décide de mener une enquête sur sa future belle-fille. Une enquête qui vire à l'obsession.
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