Paul Matthew St Pierre's Books

A Portrait of the Artist as Australian

L’Oeuvre bizarre de Barry Humphries

By: Paul Matthew St Pierre

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A Portrait of the Artist as Australian

L’Oeuvre bizarre de Barry Humphries

By: Paul Matthew St Pierre

A Portrait of the Artist as Australian offers the first critical assessment of Barry Humphries' entire career - as a daring postmodern deconstructionist on stage, film, and television, with sixty-seven stage shows, twenty-four film and thirty-four video appearances, thirty-four television series and seventy-one television appearances, and seventy-two audio recordings, but especially what he calls his "second career" as author of twenty-nine books. With an oeuvre that includes novels, biographies, autobiographies, editions, compilations, comic books, poetry, dramatic monologues, sketches, film scripts, and several unclassified works, Humphries is a literary and dramatic artist of considerable significance. Arguing that Humphries is one of Australia's greatest writers, Paul Matthew St Pierre reveals a multi-faceted artist whose success is rooted in music halls, Dadaism, and his identity as an Australian.

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368

Publisher

McGill-Queen's Press - MQUP

Published Date

ISBN 10

0773571620

ISBN 13

9780773571624

Cinematography in the Weimar Republic

Lola Lola, Dirty Singles, and the Men Who Shot Them

By: Paul Matthew St. Pierre

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Cinematography in the Weimar Republic

Lola Lola, Dirty Singles, and the Men Who Shot Them

By: Paul Matthew St. Pierre

In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit (“New Objectivity”). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of François Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumière and Georges Méliès in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production—scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing—imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers’ principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Maté with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.

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287

Publisher

Rowman & Littlefield

Published Date

ISBN 10

1611479452

ISBN 13

9781611479454

Cinematography of Carl Theodor Dreyer

Performative Camerawork, Transgressing the Frame

By: Paul Matthew St. Pierre

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Cinematography of Carl Theodor Dreyer

Performative Camerawork, Transgressing the Frame

By: Paul Matthew St. Pierre

Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father’s name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance—sets, lighting, photography, shot breakdowns, editing—and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.

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Page Count

311

Publisher

Rowman & Littlefield

Published Date

ISBN 10

1683931017

ISBN 13

9781683931010

Music Hall Mimesis in British Film, 1895-1960

On the Halls on the Screen

By: Paul Matthew St. Pierre

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Music Hall Mimesis in British Film, 1895-1960

On the Halls on the Screen

By: Paul Matthew St. Pierre

In Music Hall Mimesis in British Film, 1895-1960, Dr. St. Pierre examines strategies of representing British music hall performance (1854-1919) and the performance of the body in British cinema in the silent era (1895-1927) and the sound era (1927-60). The focus is on films of Fred and Joe Evans, Frank Randle, Will Hay, George Formby, Arthur Lucan and Kitty McShane, Cicely Courtneidge, Jessie Matthews, Norman Evans, Max Miller, Stanley Holloway, Jack Warner, Gracie Fields, and Charles Chaplin. Consideration is given to themes such as war propaganda and gender impersonation.

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Page Count

268

Publisher

Associated University Presse

Published Date

ISBN 10

0838641911

ISBN 13

9780838641910

Janet Frame

Semiotics and Biosemiotics in Her Early Fiction

By: Matthew Paul Pierre

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Janet Frame

Semiotics and Biosemiotics in Her Early Fiction

By: Matthew Paul Pierre

In Janet Frame: Semiotics and Biosemiotics in Her Early Fiction, Paul Matthew St. Pierre exploits the linguistic discipline of semiotics and the neurobiological discipline of biosemiotics to propose an original and dynamic reading of the first four works of fiction by New Zealand writer Janet Frame (1924-2004): The Lagoon: Stories (1951), Owls Do Cry (1957), Faces in the Water (1961), and The Edge of the Alphabet (1962). Opposing the prevailing reading of Frame's early fiction as autobiographical, deriving from her medical history, he argues her books are singular evocations of her astonishing imagination. His purpose is to fix this historical record and provide an alternative model for interpreting one of the 20th century's most stylistically demanding and rewarding writers. Semiotics and biosemiotics are his means for unlocking the early fiction and her later works to a polemical analysis focusing on language, sign transmissions, writing the body, and the biosemiotic self. In The Lagoon, Owls Do Cry, Faces in the Water, and The Edge of the Alphabet Frame produced what St. Pierre interprets as an original semiotic and biosemiotic modeling system that she applied throughout her oeuvre of twenty books, comprising eight story collections, seven novels, a book of poetry, a children's novel, and three volumes of autobiography. Using this modeling system, she designed her fiction as a visual verbal field consisting of still and moving images generated in the imagination, located in the brains and central nervous systems of her narrators, characters, and readers, and, primarily, of the author herself. The author discusses the significations of: 1) Frame's image-signs in water, glass, photographs, film, membranes, skin, and clothing; 2) her primary sign repertoire of objects, language, and human persons in the figures of blood, skin, and sun; 3) her body-signs, including those generated in the circulatory and neurological systems of all human organisms as biosemiotic living systems, in facial displays and body parts such as teeth, temples, eyes, skin, hair, nostrils, shoulders, knees, cheeks, vaginas, and prefrontal lobes; 4) her theories of the body, normalcy, and selfhood in the figures of urine, feces, blood, sweat, bile, saliva, phlegm, and semen, and body parts such as feet, hands, noses, teeth, lips, entrails, and wombs, in the context of social forces of dismemberment; 5) her biosemiotic system applied to her subsequent books, constituting her theory of human beings as sign-transmitting organisms, living systems doubled with and interchangeable with the closed sign system of her oeuvre. Janet Frame: Semiotics and Biosemiotics in Her Early Fiction is designed to appeal to the international audience of Frame readers and a specialized audience of semioticians and biosemioticians who investigate how sign transmissions function in visual verbal fields and related living systems.

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Page Count

221

Publisher

Fairleigh Dickinson

Published Date

ISBN 10

161147051X

ISBN 13

9781611470512

Rise of the American Nation

By: Lewis Paul Todd,Merle Eugene Curti,Mark M. Krug

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Rise of the American Nation

By: Lewis Paul Todd,Merle Eugene Curti,Mark M. Krug

A textbook tracing the political, social, and economic history of the United States from the discovery of America to the present day.

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Page Count

856

Publisher

Houghton Mifflin Harcourt P

Published Date

ISBN 10

0153760672

ISBN 13

9780153760679

Book's by Paul Matthew St Pierre

A Portrait of the Artist as Australian

A Portrait of the Artist as Australian

Cinematography in the Weimar Republic

Cinematography in the Weimar Republic

Cinematography of Carl Theodor Dreyer

Cinematography of Carl Theodor Dreyer

Music Hall Mimesis in British Film, 1895-1960

Music Hall Mimesis in British Film, 1895-1960

Janet Frame

Janet Frame

Rise of the American Nation

Rise of the American Nation

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