One of the country’s most picturesque cities and conveniently located just a few hours’ drive from Hollywood, San Francisco became the most frequently and extensively filmed American city beyond the production hubs of Los Angeles and New York in the three decades after World War II. During those years, the cinematic image of the city morphed from the dreamy beauty of Vertigo to the nightmarish wasteland of Dirty Harry, although San Francisco itself experienced no such decline. This intriguing disconnect gives impetus to Hollywood in San Francisco, the most comprehensive study to date of Hollywood’s move from studio to location production in the postwar era. In this thirty-year history of feature filmmaking in San Francisco, Joshua Gleich tracks a sea change in Hollywood production practices, as location shooting overtook studio-based filming as the dominant production method by the early 1970s. He shows how this transformation intersected with a precipitous decline in public perceptions of the American city, to which filmmakers responded by developing a stark, realist aesthetic that suited America’s growing urban pessimism and superseded a fidelity to local realities. Analyzing major films set in San Francisco, ranging from Dark Passage and Vertigo to The Conversation, The Towering Inferno, and Bullitt, as well as the TV show The Streets of San Francisco, Gleich demonstrates that the city is a physical environment used to stage urban fantasies that reveal far more about Hollywood filmmaking and American culture than they do about San Francisco.
This book is a myth for our time. It is a story, not in that it has a plot, but rather that it grows as it goes on. It consists of 72 interwoven chapters, which can be read independently, but together name the collective experience of life in the present age. Each chapter addresses a current personal, cultural, or spiritual topic, and each word participates meaningfully in the development of these ideas. At the beginning of October 2019, I had an urge to sit down and begin speaking. This book is a record of all that I said over the course of the following 40 days. I offer here the result of that work. Anyone who wishes to contact me may do so at heller.joshua.98@gmail.com. I warmly welcome any curiosity or conversation.
This keepsake edition of Joshua was taken from the King James translation of the Bible. The King James Translation is a masterwork of style, and the most important book in the English language, it has been the driving force in shaping the English-speaking world for hundreds of years. The Book of Joshua is the story of Israel from the conquest of Canaan to the Babylonian exile. It tells of the campaigns of the Israelites in central, southern and northern Canaan, the destruction of their enemies, and the division of the land among the Twelve Tribes, framed by speeches, the first by God commanding the conquest of the land, and, the second by Joshua warning of the need for faithful observance of the Law as revealed to Moses.
When the trumpets sounded, the people shouted, and at the sound of the trumpet, when the people gave a loud shout, the wall collapsed; so every man charged straight in, and they took the city." The Book of Joshua (Hebrew: 'Sefer Y'hoshua') is the sixth book in the Hebrew Bible and the Christian Old Testament. Its 24 chapters tell of the entry of the Israelites into Canaan, their conquest and division of the land under the leadership of Joshua, and of serving God in the land. 'Joshua' forms part of the biblical account of the emergence of Israel which begins with the exodus of the Israelites from slavery in Egypt, continues with the book of Joshua, and culminates in the Judges with the conquest and settlement of the land. The book is in two roughly equal parts. The first part depicts the campaigns of the Israelites in central, southern and northern Canaan, as well as the destruction of their enemies. The second part details the division of the conquered land among the twelve tribes. The two parts are framed by set-piece speeches by God and Joshua commanding the conquest and at the end warning of the need for faithful observance of the Law (torah) revealed to Moses. It's a story of miracles, bloody battles, and dividing the land among the 12 tribes. Characterized as an historical account, the book of Joshua tells how a leader's obedience to God resulted in divine help in the face of overwhelming odds. The King James Version Douay-Rheims Version The American Standard Version Bible in Basic English Version Webster Bible Version Chapter and Verse Commentary by Matthew Henry.
One of the country’s most picturesque cities and conveniently located just a few hours’ drive from Hollywood, San Francisco became the most frequently and extensively filmed American city beyond the production hubs of Los Angeles and New York in the three decades after World War II. During those years, the cinematic image of the city morphed from the dreamy beauty of Vertigo to the nightmarish wasteland of Dirty Harry, although San Francisco itself experienced no such decline. This intriguing disconnect gives impetus to Hollywood in San Francisco, the most comprehensive study to date of Hollywood’s move from studio to location production in the postwar era. In this thirty-year history of feature filmmaking in San Francisco, Joshua Gleich tracks a sea change in Hollywood production practices, as location shooting overtook studio-based filming as the dominant production method by the early 1970s. He shows how this transformation intersected with a precipitous decline in public perceptions of the American city, to which filmmakers responded by developing a stark, realist aesthetic that suited America’s growing urban pessimism and superseded a fidelity to local realities. Analyzing major films set in San Francisco, ranging from Dark Passage and Vertigo to The Conversation, The Towering Inferno, and Bullitt, as well as the TV show The Streets of San Francisco, Gleich demonstrates that the city is a physical environment used to stage urban fantasies that reveal far more about Hollywood filmmaking and American culture than they do about San Francisco.
This study examines the life and works of the poet Friedrich Leopold Graf zu Stolberg (1750-1819). It begins with an analysis of Stolberg's essays on poetic expression in relation to Romantic thinking, and the impact of his poetic style on Novalis's early poetry. Stolberg's aesthetic education in Italy is examined as well as his challenge to the idea that classical sculpture was always the pinnacle of beauty and that the culture of antiquity was the highest form of humanity. The detection of melancholy in Greek sculpture, which arises from the transfer of anxieties about redemption from the artist to the artefact, affected his response and detracted from the beauty of the sculpture. This view amounted to an attack on Goethe and Schiller, as it identified the issue of salvation and death as a weakness in the classical paradigm. The picture of Italy that Stolberg offered was overshadowed by a crisis of confidence in the aesthetic insights both of Winckelmann and of Lessing and was also the basis for his reception of Raphael and Michelangelo. Stolberg arrived at a response to Renaissance art and artists that marginally predates the early German Romantic worship of artists in the 1790s. The book concludes with a discussion of Stolberg's support of Romantic politics and Romantic conversions.
What if there were no limits imposed by budget or practicality? This book takes you to a world where anything is possible. Let your fantasy free with this array of ultimate consumer delights. These pages feature such objects as underwater motorcycles, personal spaceships, and every manner of gadgets and accessories. These luxury toys offer fine detailing, craftsmanship, design, and materials. Whether you feel envy or a rush of acquisitive frenzy will depend purely on you. One thing is for sure: you’ll be entertained by the spectacular photography and tantalizing descriptions.
Why did Greek tragedy and "the tragic" come to be seen as essential to conceptions of modernity? And how has this belief affected modern understandings of Greek drama? In Genealogy of the Tragic, Joshua Billings answers these and related questions by tracing the emergence of the modern theory of the tragic, which was first developed around 1800 by thinkers associated with German Idealism. The book argues that the idea of the tragic arose in response to a new consciousness of history in the late eighteenth century, which spurred theorists to see Greek tragedy as both a unique, historically remote form and a timeless literary genre full of meaning for the present. The book offers a new interpretation of the theories of Schiller, Schelling, Hegel, Hölderlin, and others, as mediations between these historicizing and universalizing impulses, and shows the roots of their approaches in earlier discussions of Greek tragedy in Germany, France, and England. By examining eighteenth-century readings of tragedy and the interactions between idealist thinkers in detail, Genealogy of the Tragic offers the most comprehensive historical account of the tragic to date, as well as the fullest explanation of why and how the idea was used to make sense of modernity. The book argues that idealist theories remain fundamental to contemporary interpretations of Greek tragedy, and calls for a renewed engagement with philosophical questions in criticism of tragedy.
Los Angeles Documentary and the Production of Public History, 1958–1977 explores how documentarians working between the election of John F. Kennedy and the Bicentennial created conflicting visions of the recent and more distant American past. Drawing on a wide range of primary documents, Joshua Glick analyzes the films of Hollywood documentarians such as David Wolper and Mel Stuart, along with lesser-known independents and activists such as Kent Mackenzie, Lynne Littman, and Jesús Salvador Treviño. While the former group reinvigorated a Cold War cultural liberalism, the latter group advocated for social justice in a city plagued by severe class stratification and racial segregation. Glick examines how mainstream and alternative filmmakers turned to the archives, civic institutions, and production facilities of Los Angeles in order to both change popular understandings of the city and shape the social consciousness of the nation.
A wide-ranging, rule-bending collection of nonfiction from the Pulitzer Prize–winning author of The Netanyahus “Attention reveals a fresh, vital literary voice as it covers seemingly every imaginable topic relating to modern life.”—Entertainment Weekly NAMED ONE OF THE BEST BOOKS OF THE YEAR BY WIRED One of Granta’s Best of Young American Novelists, Joshua Cohen arrives with his first collection of nonfiction, the culmination of two decades of writing and thought about life in the digital age. In essays, memoir, criticism, diary entries, and letters—many appearing here for the first time—Cohen covers the full depth and breadth of modern life: politics, literature, art, music, travel, the media, and psychology, and subjects as diverse as Google, Donald Trump, Bernie Sanders, fictional animals, Gustav Mahler, Aretha Franklin, John Zorn, landscape photography, fake Caravaggios, Wikipedia, Gertrude Stein, Edward Snowden, Jonathan Franzen, Olympic women’s fencing, Atlantic City casinos, the closing of the Ringling Bros. circus, and Azerbaijan. Throughout ATTENTION, Cohen directs his sharp gaze at home and abroad, calling upon his extraordinary erudition and unrivaled ability to draw connections between seemingly unlike things to show us how to live without fear in a world overflowing with information. In each piece, he projects a quality of thought that is uniquely his, and a voice as witty, profound, and distinct as any in American letters. At this crucial juncture in history, ATTENTION is a guide for the perplexed—a handbook for anyone hoping to bring the wisdom of the past into the culture of the future.
The modern concept of disability did not exist in the Romantic period. This study addresses the anachronistic use of 'disability' in scholarship of the Romantic era, providing a disability studies theorized account that explores the relationship between ideas of function and aesthetics. Unpacking the politics of ability, the book reveals the centrality of capacity and weakness concepts to the egalitarian politics of the 1790s, and the importance of desert theory to debates about sentiment and the charitable relief of impaired soldiers. Clarifying the aesthetics of deformity as distinct from discussions of ability, Joshua uncovers a controversy over the use of deformity in picturesque aesthetics, offers accounts of deformity that anticipate recent disability studies theory, and discusses deformity and monstrosity as a blended category in Frankenstein. Setting aside the modern concept of disability, Joshua cogently argues for the historical and critical value of period-specific terms.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.