Resultaten voor 'vern'

1. Nicholas Vern

To Catch a Cheater

1. Nicholas Vern

To Catch a Cheater

1. Tiny , Moore
2. Warren , Helton
3. Vernon , Solomon

Merle Haggard Presents Swinging Texas Fiddlin'

1. James , Phillips

Busby Berkeley at Warner Bros.

Busby Berkeley's big-production numbers are emblematic of the Hollywood dream factory.Exploring the tensions between escapism and ideological over-coding in the Warner Bros. musical, this book tracks the ways in which Berkeley created spectacles that are both critical and complacent in relation to the society that produced and received them. Berkeley carried into his images of utopia the assembly plant, the misogyny, the fascism and racism of his day, but his collaboration with the filmmakers (Enright, Bacon and LeRoy) into whose narratives his numbers were spliced likewise involved taking care to draw a line between spectacle and the everyday. The book makes the case that the Warner Bros. musical, with its attention to the specificity and containment of the aesthetic dimension, has corrective lessons to impart for the aestheticized politics not only of the 1930s, but also of the current age.

1. Vernon Shetley

Dark Film, Blood Money

A thought-provoking interpretation of neo-noir filmmaking, from the 1970s to the 2020s, through the lens of the economic, encompassing issues of trust, professionalism, race, artistic influence, and the relation between business and family. 14 b&w; illus.

1. Justin , Remes

Found Footage Films

Found Footage Films examines the rich aesthetic history of cinematic remixes, from pioneering films by Joseph Cornell and Bruce Conner to contemporary mashups and memes. We live in the era of the remix. Visual artists rework images from popular culture, music producers sample and loop elements from classic songs, and content creators transform images from films and television shows into viral memes. We are swimming in a sea of appropriated sounds and images. But how did we get here? It is impossible to answer this question without considering the crucial role played by found footage films. This book argues that found footage films complicate widespread assumptions about originality, creativity, and authorship. It argues that the philosophical and aesthetic foundations of cinematic appropriation were provided by Marcel Duchamp and suggests that many scholars have thus far given insufficient attention to the sounds of found footage films-and their powerful role in shaping a spectator's interpretation of the reworked material.