Jane M. Gaines examines the phenomenon of images as property, focusing on the legal staus of mechanically produced visual and audio images from popular culture. Bridging the fields of critical legal studies and cultural studies, she analyzes copyright, trademark, and intellectual property law, asking how the law constructs works of authorship and who owns the country's cultural heritage.
In the silent era, American cinema was defined by two separate and parallel industries, with white and black companies producing films for their respective, segregated audiences. Jane Gaines's highly anticipated new book reconsiders the race films of this era with an ambitious historical and theoretical agenda. Fire and Desire offers a penetrating look at the black independent film movement during the silent period. Gaines traces the profound influence that D. W. Griffith's racist epic The Birth of a Nation exerted on black filmmakers such as Oscar Micheaux, the director of the newly recovered Within Our Gates. Beginning with What Happened in the Tunnel, a movie that played with race and sex taboos by featuring the first interracial kiss in film, Gaines also explores the cinematic constitution of self and other through surprise encounters: James Baldwin sees himself in the face of Bette Davis, family resemblance is read in Richard S. Robert's portrait of an interracial family, and black film pioneer George P. Johnson looks back on Micheaux. Given the impossibility of purity and the co-implication of white and black, Fire and Desire ultimately questions the category of "race movies" itself.
Women held more positions of power in the silent film era than at any other time in American motion picture history. Marion Leonard broke from acting to cofound a feature film company. Gene Gauntier, the face of Kalem Films, also wrote the first script of Ben-Hur. Helen Holmes choreographed her own breathtaking on-camera stunt work. Yet they and the other pioneering filmmaking women vanished from memory. Using individual careers as a point of departure, Jane M. Gaines charts how women first fell out of the limelight and then out of the film history itself. A more perplexing event cemented their obscurity: the failure of 1970s feminist historiography to rediscover them. Gaines examines how it happened against a backdrop of feminist theory and her own meditation on the limits that historiography imposes on scholars. Pondering how silent era women have become absent in the abstract while present in reality, Gaines sees a need for a theory of these artists' pasts that relates their aspirations to those of contemporary women. A bold journey through history and memory, Pink-Slipped pursues the still-elusive fate of the influential women in the early years of film.
In the silent era, American cinema was defined by two separate and parallel industries, with white and black companies producing films for their respective, segregated audiences. Jane Gaines's highly anticipated new book reconsiders the race films of this era with an ambitious historical and theoretical agenda. Fire and Desire offers a penetrating look at the black independent film movement during the silent period. Gaines traces the profound influence that D. W. Griffith's racist epic The Birth of a Nation exerted on black filmmakers such as Oscar Micheaux, the director of the newly recovered Within Our Gates. Beginning with What Happened in the Tunnel, a movie that played with race and sex taboos by featuring the first interracial kiss in film, Gaines also explores the cinematic constitution of self and other through surprise encounters: James Baldwin sees himself in the face of Bette Davis, family resemblance is read in Richard S. Robert's portrait of an interracial family, and black film pioneer George P. Johnson looks back on Micheaux. Given the impossibility of purity and the co-implication of white and black, Fire and Desire ultimately questions the category of "race movies" itself.
Women held more positions of power in the silent film era than at any other time in American motion picture history. Marion Leonard broke from acting to cofound a feature film company. Gene Gauntier, the face of Kalem Films, also wrote the first script of Ben-Hur. Helen Holmes choreographed her own breathtaking on-camera stunt work. Yet they and the other pioneering filmmaking women vanished from memory. Using individual careers as a point of departure, Jane M. Gaines charts how women first fell out of the limelight and then out of the film history itself. A more perplexing event cemented their obscurity: the failure of 1970s feminist historiography to rediscover them. Gaines examines how it happened against a backdrop of feminist theory and her own meditation on the limits that historiography imposes on scholars. Pondering how silent era women have become absent in the abstract while present in reality, Gaines sees a need for a theory of these artists' pasts that relates their aspirations to those of contemporary women. A bold journey through history and memory, Pink-Slipped pursues the still-elusive fate of the influential women in the early years of film.
Long considered the gold standard comprehensive reference for diagnosing and managing emergent health issues in children, Fleisher & Ludwig’s Textbook of Pediatric Emergency Medicine is an essential resource for clinicians at all levels of training and experience. The revised eighth edition has been updated from cover to cover, providing practical, evidence-based content to help you meet any clinical challenge in the emergency care of pediatric patients.
Originating from the Ponto-Caspian region, the invasive round goby has since 1990 spread in the Baltic Sea region, now with established populations throughout the area. The fish is a strong competitor for food, shelter and nesting sites, and has a high tolerance towards a broad range of temperatures and salinities. In many places, it exerts negative effects on the local fish fauna and benthic community, and its presence may compromise descriptors of Good Environmental Status under the Marine Strategy Framework Directive. Furthermore, Marine protected areas, constructed to protect valuable and threatened species or habitats, may be compromised by its presence. Notably however, round goby is also an emerging prey for larger fish, marine mammals and birds, thus providing positive effects to the invaded ecosystems. In some areas, it also supports fisheries, adding positively to society.
Jane M. Gaines examines the phenomenon of images as property, focusing on the legal staus of mechanically produced visual and audio images from popular culture. Bridging the fields of critical legal studies and cultural studies, she analyzes copyright, trademark, and intellectual property law, asking how the law constructs works of authorship and who owns the country's cultural heritage.
Extraordinarily wealthy and influential, Stephen Duncan (1787-1867) was a landowner, slaveholder, and financier with a remarkable array of social, economic, and political contacts in pre-Civil War America. In this, the first biography of Duncan, Martha Jane Brazy offers a compelling new portrait of antebellum life through exploration of Duncan's multifaceted personal networks in both the South and the North. Duncan grew up in an elite Pennsylvania family with strong business ties in Philadelphia. There was little indication, though, that he would become a cosmopolitan entrepreneur who would own over fifteen plantations in Mississippi and Louisiana, collectively owning more than two thousand slaves. With style and substance, Martha Jane Brazy describes both the development of Duncan's businesses and the lives of the slaves on whose labor his empire was constructed. According to Brazy, Duncan was a hybrid, not fully a southerner or a northerner. He was also, Brazy shows, a paradox. Although he put down deep roots in Natchez, his sphere of influence was national in scope. Although his wealth was greatly dependent on the slaves he owned, he predicted a clash over the issue of slave ownership nearly three decades before the onset of the Civil War. Perhaps more than any other planter studied, Duncan contradicts historians' definition of the southern slaveholding aristocracy. By connecting and contrasting the networks of this elite planter and those he enslaved, Brazy provides new insights into the slaveocracy of antebellum America.
In documentary studies, the old distinctions between fiction and nonfiction no longer apply, as contemporary film and video artists produce works that defy classification. Coming together to make sense of these developments, the contributors to this book effectively redefine documentary studies. They trace the documentary impulse in the early detective camera, in the reenactment of battle scenes from World War I, and in the telecast of the Nevada A-bomb test in 1952. Other topics include experiments in virtual reality; the crisis of representation in anthropology; and video art and documentary work that challenge the asymmetry of the postcolonial us/them divide. Book jacket.
A jargon-free, non-technical, and easily accessible introduction to women's studies! All too many students enter academia with the hazy idea that the field of women's studies is restricted to housework, birth control, and Susan B. Anthony. Their first encounter with a women's studies textbook is likely to focus on the history and sociology of women's lives. While these topics are important, the emphasis on them has led to neglect of equally important issues. Transforming the Disciplines: A Women's Studies Primer is one of the first women's studies textbooks to show feminist scholarship as an active force, changing the way we study such diverse fields as architecture, bioethics, history, mathematics, religion, and sports studies. Although this text was designed as an introduction to women's studies, it is also rewarding for upper-level or graduate students who want to understand the pervasive effects of feminist theory. Most chapters provide a bibliography or list of further reading of significant works. Its clear, jargon-free prose makes feminist thought accessible to general readers without sacrificing the revolutionary power of its ideas. In almost thirty essays, covering a broad range of subjects from anthropology to chemistry to rhetoric, Transforming the Disciplines exemplifies the changes achieved by feminist thought. Transforming the Disciplines: combines a high standard of writing and scholarship with personal insight includes both traditional academic arguments and alternative, non-agonistic forms of discussion embraces an international scope challenges traditional assumptions, models, and methodologies offers an inter- and multidisciplinary approach strengthens readers’understanding of the big picture not only for women but for all disempowered groups critiques feminism as well as patriarchal society Feminist theory is grounded in a questioning of traditional assumptions about what is right, natural, and self-evident, not just about the roles and nature of men and women but about how we think, what we teach, whose experience matters, and what is important. Transforming the Disciplines is the first textbook to show the consequences of those questions -- not the answers themselves, but the consequences of the willingness to ask and the transformations that have occurred when the “right” answers changed.
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