Contemporary Art History

The central argument of Chromophobia is that a chromophobic impulse—a fear of corruption or contamination through color—lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge color, either by making it the property of some foreign body—the oriental, the feminine, the infantile, the vulgar, or the pathological—or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic.

Declan Walsh is one of the New York Times's most distinguished international correspondents. His electrifying portrait of Pakistan over a tumultuous decade captures the sweep of this strange, wondrous, and benighted country through the dramatic lives of nine fascinating individuals. On assignment as the country careened between crises, Walsh traveled from the raucous port of Karachi to the salons of Lahore, and from Baluchistan to the mountains of Waziristan. He met a diverse cast of extraordinary Pakistanis....

From young artists trying to elbow their way in to those working hard at dropping out, White's essential audiobook offers a once-in-a-generation glimpse of the inner workings of the American art world at a moment of unparalleled ambition, uncertainty, and creative exuberance.

In 1969, in Capitol Records' Hollywood studio, a blonde-haired troubadour named Larry Norman laid track for an album that would launch a new genre of music and one of the strangest, most interesting careers in modern rock. Having spent the bulk of the 1960s playing on bills with acts like The Who, Janis Joplin, and The Doors, Norman decided that he wanted to sing about the most countercultural subject of all: Jesus.

The pantheon of big-budget, commercially successful films encompasses a range of genres, including biblical films, war films, romances, comic-book adaptations, animated features, and historical epics. In Epics, Spectacles, and Blockbusters: A Hollywood History authors Sheldon Hall and Steve Neale discuss the characteristics, history, and modes of distribution and exhibition that unite big-budget pictures, from their beginnings in the late nineteenth century to the present.

A Companion to Martin Scorsese is a comprehensive collection of original essays assessing the career of one of America's most prominent contemporary filmmakers....

Strikingly beautiful and exceptionally talented, Montgomery Clift was at the peak of his fame in 1956 when a devastating car crash nearly destroyed his face. While this traumatic event robbed him of his heartthrob status and turned him into a somewhat disturbing, socially alienated character, author Elisabetta Girelli argues that Clift had always combined on-screen erotic ambiguity with real-life sexual nonconformity.

This book has one purpose—to offer everyone the opportunity to become as wild about modern and contemporary art as I am. I am committed that your visits to modern and contemporary art exhibits become joyful, enriching experiences that you eagerly anticipate, avidly soak in and never get over. I say that the ability to appreciate art, including every type of art, is innate to all human beings. I have discovered that unlocking this natural love of art has much more to do with clearing out what's in the way than it does with accumulating information.

The Boys in the Band's debut was revolutionary for its fictional but frank presentation of a male homosexual subculture in Manhattan. Based on Mart Crowley's hit Off-Broadway play from 1968, the film's two-hour running time approximates real time, unfolding at a birthday party attended by nine men whose language, clothing, and behavior evoke a range of urban gay "types." Although various popular critics, historians, and film scholars over the years have offered cursory acknowledgment of the film's importance, more substantive research and analysis have been woefully lacking. The film's neglect among academics belies a rich and rewarding object of study. The Boys in the Band merits not only the close reading that should accompany such a well-made text but also recognition as a landmark almost ideally situated to orient us amid the highly complex, shifting cultural terrain it occupied upon its release-and has occupied since.

Was It Yesterday? explores the impact of nostalgia in 21st-century American film and television. Cultural nostalgia, in both real and imagined forms, is dominant today, but what does the concentration on bringing back the past mean for an understanding of our cultural moment, and what are the consequences for viewers? This book questions the nature of this nostalgic phenomenon, the politics associated with it, and the significance of the different periods, in addition to offering counterarguments that see nostalgia as prevalent throughout film and television history.

Script Culture and the American Screenplay treats the screenplay as a literary work in its own right, presenting analyses of screenplays from a variety of frameworks, including feminism, Marxism, structuralism, philosophy, and psychology. Boon demonstrates that whether we are concerned with aesthetics and identifying rules for distinguishing the literary from the non-literary, or whether we align ourselves with more contemporary theories, which recognize texts as distinguishable in their inter-relationships.

Even as actresses become increasingly marginalized by Hollywood, French cinema is witnessing an explosion of female talent - a Golden Age unlike anything the world has seen since the days of Stanwyck, Hepburn, Davis, and Garbo. In France, the joy of acting is alive and well. Scores of French actresses are doing the best work of their lives in movies tailored to their star images and unique personalities. Yet virtually no one this side of the Atlantic even knows about them. Viewers who feel shortchanged by Hollywood will be thrilled to discover The Beauty of the Real.

In Buffoon Men: Classic Hollywood Comedians and Queered Masculinity, Scott Balcerzak reads the performances of notable comedians such as W. C. Fields, Eddie Cantor, Jack Benny, Stan Laurel and Oliver Hardy, Bert Wheeler and Robert Woolsey, and Bud Abbott and Lou Costello through humor and queer theory to expose a problematic history of maleness in their personas.

The Art of War is an ancient Chinese military treatise dating from the Late Spring and Autumn Period (roughly fifth century BC). The work, which is attributed to the ancient Chinese military strategist Sun Tzu , is composed of 13 chapters. Each chapter is devoted to an aspect of warfare and how it applies to military strategy and tactics. For almost 1,500 years The Art of War has been the lead text in an anthology that would be formalised as the Seven Military Classics by Emperor Shenzong of Song in 1080.

En la Historia del Arte Español, como en la de cualquier país, lo más difícil, y para muchos lo más fácil, es recoger una serie de nombres, estilos, figuras, etc. que estudiar. Difícil porque no se sabe quienes son los mejores, ya que hablando de estilos artísticos es muy complicado llegar a determinar cuál es la belleza por excelencia, cuando ésta es algo subjetivo de cada espectador que la contempla y teniendo en cuenta que entran en litigio muchos elementos -y no todos objetivos ni igualmente valorables- que hacen recaer una mayor responsabilidad al efectuar esa valoración.