Author wrote bestselling bfi Publishing title David Lynch 'a joy to the reader of film criticism' Choice; 2001: A Space Odyssey to be re-released in cinemas in The Spring and highly likely to be the focus of much media attention in the new year; Stanley Kubrick's 2001: A Space Odyssey (1968), based on Arthur C Clarke's novel, is one of the most ambitious films ever made, an epic of space exploration that takes in the whole history of humanity (as well as speculation about its future). A technical triumph that stands up today 2001 is topical also because of its meditation on the relationship between man, animal and machine. Haunting and enigmatic, it's a film that contains myriad images that seem to defy any explanation. In this multilayered study, acclaimed critic and theorist of film sound Michel Chion offers some keys to understanding 2001. Setting the film first in its historical and cultural contexts (the Space Race, the Cold War, 1960s psychedelia), Chion goes on to locate it within Kubrick's career. He then conducts a meticulous and subtle analysis of its structure and style, arguing that 2001 is an 'absolute film', a unique assemblage of cinema's elements, through which pulses a vision of human existence. 'Animals who know they will die, beings lost on earth, forever caught between two species, not animal enough, not cerebral enough.' In a supplementary chapter Chion argues that Kubrick's last film, Eyes Wide Shut (1999), is a return to 2001, a final statement of its concerns. And in a series of appendices Chion provides production details, an analytic synopsis, credits and a consideration of the legacy of 2001.
CO2 capture and geological storage is seen as the most effective technology to rapidly reduce the emission of greenhouse gases into the atmosphere. Up until now and before proceeding to an industrial development of this technology, laboratory research has been conducted for several years and pilot projects have been launched. So far, these studies have mainly focused on transport and geochemical issues and few studies have been dedicated to the geomechanical issues in CO2 storage facilities. The purpose of this book is to give an overview of the multiphysics processes occurring in CO2 storage facilities, with particular attention given to coupled geomechanical problems. The book is divided into three parts. The first part is dedicated to transport processes and focuses on the efficiency of the storage complex and the evaluation of possible leakage paths. The second part deals with issues related to reservoir injectivity and the presence of fractures and occurrence of damage. The final part of the book concerns the serviceability and ageing of the geomaterials whose poromechanical properties may be altered by contact with the injected reactive fluid.
A chronological overview of one of modern cinema’s most celebrated directors, featuring interviews with Jane Campion herself Jane Campion on Jane Campion offers a unique perspective on the creative process of one of cinema’s greatest contemporary film directors. Through a series of interviews from the early days of Campion’s career to her most recent projects, conducted by Michel Ciment, each chapter contains the study of a film: starting with the short films that Campion made during her studies at the Australian Film Television and Radio School, then moving through the Academy Award–winning The Piano, The Portrait of a Lady, Holy Smoke, In the Cut, Bright Star, the TV series Top of the Lake, and ending with her most recent film, the Academy Award–nominated The Power of the Dog. Organized chronologically, film-by-film, the interviews are illustrated with film stills and photographs taken on set, as well as with annotated scripts, storyboards, and personal documents lent by Campion. The book also reproduces three short stories and a text about the poet John Keats written by the director, along with actress Holly Hunter’s “Scattered Memories” of their collaboration on The Piano and Top of the Lake. A detailed bibliography and filmography of the filmmaker complete this volume, which contains more than 300 color and black-and-white illustrations.
A translation and fully updated version of the French title "Controles de qualit en construction routi re", 1987. This book presents the total panorama of the methods and means available to the various interveners.
In the euphoria that followed the departure of Haiti's hated dictator, Jean-Claude Duvalier, most Haitian and foreign analysts treated the regimes of the two Duvaliers, father and son, as a historical nightmare created by the malevolent minds of the leaders and their supporters. Yet the crisis, economic and political, that faces this small Caribbean nation did not begin with the dictatorship, and is far from being solved, despite its departure from the scene. In this fascinating study, Haitian-born Michel-Rolph Trouillot examines the mechanisms through which the Duvaliers ruthlessly won and then held onto power for twenty-nine years. Trouillot's theoretical discussion focuses on the contradictory nature of the peripheral state, analyzing its relative autonomy as a manifestation of the growing disjuncture between state and nation. He discusses in detail two key characteristics of such regimes: the need for a rhetoric of national unity coupled with unbridled violence. At the same time, he traces the current crisis from its roots in the nineteenth-century marginalization of the peasantry through the U.S. occupation from 1915 to 1934 and into the present. He ends with a discussion of the post-Duvalier period, which, far from seeing the restoration of civilian-led democracy, has been a period of increasing violence and economic decline.
Swiss architectural firm Brodbeck & Roulet was established in 1978 and is now recognised as one of Europe's leading architectural ateliers. Brodbeck & Roulet projects range from administration and industry buildings to urban development and public transport, from housing developments and residentials to prominent public buildings and sites. The principal architects are Rino Brodbeck and Jacques Roulet."--Provided by publisher.
The Thin Red Line' is the third film to have been directed by Terence Malick. In this book, Michael Chion traces the connections to Malick's earlier work. He links 'The Thin Red Line' not only to James Jones's novel on which it is loosely based, but also to a tradition of American thought.
Michel Chion's study of the film and television work of David Lynch has become, since its first English publication in 1995, the definitive book on one of America's finest contemporary directors. In this new edition Chion brings the book up-to-date to take into account Lynch's work in the past ten years, including the major features 'Lost Highway, The Straight Story,' and 'Mulholland Drive. 'Newly redesigned and re-illustrated, 'David Lynch 'is an indispensable companion.
Tous ces textes racontent des histoires vraies, seulement mises en lumière pour démontrer que le sort de chacune n'est pas une fatalité, mais provoqué par des circonstances aggravantes du comportement de proches aveugles et égoïstes.Si vous avez le courage de lire d'un peu plus près ces malheurs avec un peu de réflexion, vous vous poserez la question de l'existence d'un ou des dieux.Dans tous ces textes, il ne manque que de l'amour... que de l'amour.L'amour, ce n'est pourtant pas grand-chose, c'est donner ce que l'on n'a pas à quelqu'un qui en a besoin.
Professor Jean Richard is the doyen of crusade historians. Although also well-known as one of the most distinguished historians of Burgundy, he has through publications which have been appearing for over half a century established himself as the greatest living scholar working on crusading and the Latin East. His book on twelfth-century Tripoli, published in 1945, is still the standard work on the county. In the 1950s he, and Joshua Prawer, provided a revolutionary approach towards the constitution and institutions of the kingdom of Jerusalem. He went on to pave the way for an entirely new understanding of the kingdom of Cyprus. In the 1960s he was one of a few historians who were sign-posting a more empathetic view of the ideology of crusading and the motivation of crusaders, and he developed his ideas further in recent monographs on Saint Louis and on the crusades in general. His work on Catholic missions to Asia and the role of the papacy in those enterprises is generally regarded as setting standards which few can approach. To celebrate his eightieth birthday thirty-nine colleagues have contributed articles in fields which themselves illustrate Professor Richard’s breadth of interest: the crusades, the military orders, and the Latin settlements on the Levantine mainland and the island of Cyprus.
Stanley Kubrick died on 7 March 1999 at his Hertfordshire home, having finished the editing of his last film. Eyes Wide Shut was released later that year. Adapted from Arthur Schnitzler's 1926 Viennese novel Dream Story, relocated and updated to contemporary Manhattan, Eyes Wide Shut stars Tom Cruise and Nicole Kidman as a prosperous couple whose marriage is tested in the aftermath a series of sinister events. The film baffled many of its first audiences. It had all the lavish attention to detail of a Kubrick film but it seemed slow, enigmatic, too much of a dream. Michel Chion's extraordinary study of Eyes Wide Shut makes the case that it is one of Kubrick's masterpieces and a fitting testament. To appreciate this, though, it is necessary to look at what happens on the screen without bringing preconceptions to bear. The film needs to be taken at face value. Looked at this way, Eyes Wide Shut reveals itself to be a deeply moving film about characters who are not so different from real people, a film about life in which questions of meaning and motive lose their value.
In 1933 thousands of intellectuals, artists, writers, militants and other opponents of the Nazi regime fled Germany. They were, in the words of Heinrich Mann, "the best of Germany," refusing to remain citizens in this new state that legalized terror and brutality. Exiled across the world, they continued the fight against Nazism in prose, poetry, painting, architecture, film and theater. Weimar in Exile follows these lives, from the rise of national socialism to their return to a ruined homeland, retracing their stories, struggles, setbacks and rare victories. The dignity in exile of Walter Benjamin, Ernst Bloch, Bertolt Brecht, Alfred Dblin, Hanns Eisler, Heinrich Mann, Thomas Mann, Anna Seghers, Ernst Toller, Stefan Zweig and many others provides a counterpoint to the story of Germany under the Nazis.
The unification of Private International Law is a goal to which all the contributors to this impressive volume have committed themselves, and one which seems increasingly to attract the attention of legal practitioners, researchers, writers and legislators. The essays give a unique overview of the current state of the law with respect to those areas which have been unified, or which are susceptible to unification. Insights are given into national as well as international practice, and theoretical aspects have not been neglected.
Michel Chion is renowned for his explorations of the significance of frequently overlooked elements of cinema, particularly the role of sound. In this inventive and inviting book, Chion considers how cinema has deployed music. He shows how music and film not only complement but also transform each other. The first section of the book examines film music in historical perspective, and the second section addresses the theoretical implications of the crossover between art forms. Chion discusses a vast variety of films across eras, genres, and continents, embracing all the different genres of music that filmmakers have used to tell their stories. Beginning with live accompaniment of silent films in early movie houses, the book analyzes Al Jolson’s performance in The Jazz Singer, the zither in The Third Man, Godard’s patchwork sound editing, the synthesizer welcoming the flying saucer in Close Encounters of the Third Kind, and the Kinshasa orchestra in Felicité, among many more. Chion considers both original scores and incorporation of preexisting works, including the use and reuse of particular composers across cinematic traditions, the introduction of popular music such as jazz and rock, and directors’ attraction to atonal and dissonant music as well as musique concrète, of which he is a composer. Wide-ranging and original, Music in Cinema offers a welcoming overview for students and general readers as well as refreshingly new and valuable perspectives for film scholars.
Film World brings together key interviews with cinema's leading directors. The directors chosen represent many of the most influential film-makers of the last 50 years. All have been selected because of their cinematic vision, because they have a particular way of seeing the world and of filming it. All have created a body of work which is both hugely popular and critically acclaimed. This truly global range of directors hails from Australia, Britain, China and Hong Kong, Denmark, Finland, France, Germany, India, Iran, Ireland, Italy, Japan, Korea, North America, Poland, and Russia. Together, these illuminating interviews reveal how these visionary directors create images which speak to audiences the world over. The interviews are with: Bernardo Bertolucci, John Boorman, Robert Bresson, Jane Campion, John Cassavetes, David Cronenberg, Atom Egoyan, Federico Fellini, Jean-Luc Godard, Peter Greenaway, Werner Herzog, Hou Hsiao-hsien, Wong Kar-wei, Aki Kaurismaki, Abbas Kiarostami, Krzysztof Kieslowski, Takeshi Kitano, Im Kwon-taek, Mike Leigh, Manoel de Oliveira, Satyajit Ray, Martin Scorsese, Andrei Tarkovsky, Lars von Trier, Zhang Yimou
A chronological overview of one of modern cinema’s most celebrated directors, featuring interviews with Jane Campion herself Jane Campion on Jane Campion offers a unique perspective on the creative process of one of cinema’s greatest contemporary film directors. Through a series of interviews from the early days of Campion’s career to her most recent projects, conducted by Michel Ciment, each chapter contains the study of a film: starting with the short films that Campion made during her studies at the Australian Film Television and Radio School, then moving through the Academy Award–winning The Piano, The Portrait of a Lady, Holy Smoke, In the Cut, Bright Star, the TV series Top of the Lake, and ending with her most recent film, the Academy Award–nominated The Power of the Dog. Organized chronologically, film-by-film, the interviews are illustrated with film stills and photographs taken on set, as well as with annotated scripts, storyboards, and personal documents lent by Campion. The book also reproduces three short stories and a text about the poet John Keats written by the director, along with actress Holly Hunter’s “Scattered Memories” of their collaboration on The Piano and Top of the Lake. A detailed bibliography and filmography of the filmmaker complete this volume, which contains more than 300 color and black-and-white illustrations.
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