Where should they go? 70 million displaced refugees and asylum seekers with no passport, no money, and no worldly goods. In 380 B.C. Plato wrote about the "Ideal City," but it wasn't until 1516 AD that Sir Thomas More invented the word, "Utopia," translated from Greek as "good place," that is in need of a new, contemporary interpretation. It is within the framework of utopia that the City of Refugees represents a place that transcends the fate of the refugee and the reason they were torn from their homeland and not given safe haven fleeing their country. It is a concept for a new city that welcomes these optimistic people looking for a place to be free from oppression. The City of Refugees is a soft place to land that believes in the future. The University of Houston College of Architecture + Design with 135 students is proposing four cities on four continents as prototypes that represent a real Utopia for housing the unprecedented migration of people moving across borders. This UN-sponsored, free economic zone for the four cities can be funded by small fractions of the defense budgets appropriated by the UN. The innovative cities create a platform for a new, multi-ethnic society based upon justice, tolerance, and economically viable with a net zero energy consumption within a sustainable environment. The new three-dimensional cities redefine the concept of streets by no longer needing cars creating a real utopia for those with no voice.
Russian and Soviet cinema occupies a unique place in the history of world cinema. Legendary filmmakers such as Sergei Eisenstein, Vsevolod Pudovkin, Dziga Vertov, Andrei Tarkovsky, and Sergei Paradjanov have created oeuvres that are being screened and studied all over the world. The Soviet film industry was different from others because its main criterion of success was not profit, but the ideological and aesthetic effect on the viewer. Another important feature is Soviet cinema’s multinational (Eurasian) character: while Russian cinema was the largest, other national cinemas such as Georgian, Kazakh, and Ukrainian played a decisive role for Soviet cinema as a whole. The Historical Dictionary of Russian and Soviet Cinema provides a rich tapestry of factual information, together with detailed critical assessments of individual artistic accomplishments. This second edition of Historical Dictionary of Russian and Soviet Cinema contains a chronology, an introduction, and a bibliography. The dictionary section has over 600 cross-referenced entries on directors, performers, cinematographers, composers, designers, producers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian and Soviet Cinema.
Branded Women in U.S. Television examines how The Real Housewives of New York City, Martha Stewart, and other female entrepreneurs create branded televised versions of the iconic U.S. housewife. Using their television presence to establish and promote their own product lines, including jewelry, cookware, clothing, and skincare, they become the primary physical representations of these brands. While their businesses are serious and seriously lucrative, especially reality television enables a certain representational flexibility that allows participants to create campy and sometimes tongue-in-cheek personas. Peter Bjelskou explores their innovative branding strategies, specifically the complex relationships between their entrepreneurial endeavors and their physical bodies, attires, tastes, and personal histories. Generally these branded women speak volumes about their contemporaneous political environments, and this book illustrates how they, and many other women in U.S. television history, are indicative of larger societal trends and structures.
Houston Genetic City offers a vision for a future Houston as a global city, beyond its current petro-economy, its laissez-faire land speculation, and its notorious sprawl. The book speculates about new forms of urbanism that offer resiliency against our changing climate--from flooding to sea level rise to volatile storms--as well as new models for development in fast-urbanizing regions. No city in the United States is a synonymous with unbridled growth and land speculation as the sprawling Texas city of Houston. The book offers a vision for a future Houston as a global city, beyond its current petro-economy, its laissez-faire land speculation, and its notorious sprawl. It speculates about new forms of urbanism that offer resiliency against our changing climate as well as new models for development in fast-urbanizing regions. Though Houston is described as a city, its massive size makes it regional or even megaregional in scale--including a patchwork of satellite downtowns and suburbs, a vast floodplain of bayous and coastal prairie, as well as a long stretch of Gulf Coast. Its lack of zoning means ad hoc developments scatter across the landscape with little formal planning, where urban developments are always provisional and negotiable. Using maps, photographs, timelines, and collages, the book lays out the conditions for new urbanization in this fragile landscape.
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