Films, cinema

1. Jasen Laks
2. Lars Theriot

Lost Hollywood

1. David Gerstein
2. J. B. Kaufman

Walt Disney's Donald Duck

Since 1934, Donald Duck, one of the most published comic book subjects, has been seen in more films than any other Disney character. This volume includes rare animation drawings, vintage comics, behind-the-scenes photographs, charming memorabilia, and a vast tribute to “the Duck Man,” master storyteller Carl Barks.

1. David Gerstein
2. J. B. Kaufman

Walt Disneys Donald Duck

Since 1934, Donald Duck, one of the most published comic book subjects, has been seen in more films than any other Disney character. This volume includes rare animation drawings, vintage comics, behind-the-scenes photographs, charming memorabilia, and a vast tribute to “the Duck Man,” master storyteller Carl Barks.

1. Jenny , Chamarette

Museums and the Moving Image

Museums and the Moving Image is the first volume to span overlapping but disciplinarily distinct research into museums, exhibitions, art and film. It draws together approaches in art history, museum studies, anthropology, film studies, performance studies and digital cultures, to uncover the shared ethical and political concerns about two crucial sites of knowledge creation: in the moving image, and in the cultural institution of the museum. Whether or not you know the artwork or film in question, Jenny Chamarette writes in a language that speaks to specialists and non-specialists alike about issues of Eurocentrism, colonialism, race and gender. She institutes a new way of thinking, through cinemuseology, a practice of understanding the entwined and parallel cultural powers of cinema and the museum. From her exploration of French museum-funded ethnography of the 1950s and West African cinema's retort to it, to disruptions of performance, video and digital art by women artists in North American museums from the 1970s; from moving image artists' millennial probing of the 18th century white men whose private hoards lead to the first collections of public museums in the UK, to the hopeful and healing restoration of the B/black archive in contemporary global installation art; from the caring archive of indigenous documentary filmmaking, to the work of experimental filmmakers in Britain; Chamarette consistently asks: how do moving images make the museum think?

1. Jenny , Chamarette

Museums and the Moving Image

Museums and the Moving Image is the first volume to span overlapping but disciplinarily distinct research into museums, exhibitions, art and film. It draws together approaches in art history, museum studies, anthropology, film studies, performance studies and digital cultures, to uncover the shared ethical and political concerns about two crucial sites of knowledge creation: in the moving image, and in the cultural institution of the museum. Whether or not you know the artwork or film in question, Jenny Chamarette writes in a language that speaks to specialists and non-specialists alike about issues of Eurocentrism, colonialism, race and gender. She institutes a new way of thinking, through cinemuseology, a practice of understanding the entwined and parallel cultural powers of cinema and the museum. From her exploration of French museum-funded ethnography of the 1950s and West African cinema's retort to it, to disruptions of performance, video and digital art by women artists in North American museums from the 1970s; from moving image artists' millennial probing of the 18th century white men whose private hoards lead to the first collections of public museums in the UK, to the hopeful and healing restoration of the B/black archive in contemporary global installation art; from the caring archive of indigenous documentary filmmaking, to the work of experimental filmmakers in Britain; Chamarette consistently asks: how do moving images make the museum think?

1. Peter Delpeut

The Long Landscape

"Delpeut has written a fantastic story, which in its charming combination of style, color, content and depth, can hardly be compared to the average world of the average cyclist." —The World Cyclist "Much more than just another travelogue." —De Volkskrant "You get a feeling for space."—NRC Handelsblad "A thoughtful, quietly ambitious travel memoir that uses cycling as a lens to explore memory, perception, and the changing nature of experience. Rather than focusing on action or adventure, The Long Landscape leans into reflection, asking what it really means to move through the world—especially in an age where even 'self-powered' travel is no longer entirely independent. Its strongest quality is the central idea that, despite technological evolution, the essence of cycling remains unchanged. The notion that riding a bicycle today can evoke the same sense of wonder felt by early cyclists—and even be compared to the astonishment of the first cinema audiences—is both original and convincing. It gives the narrative a philosophical backbone." —Cycloscope Praise for past works For The Forgotten Season “An exceptionally mature novel.” —Groene Amsterdammer  “Wonderful novel.” —NRC Handelsblad  “A mysteriously beautiful book that trips us and surprises us.” —Literary Netherlands  For In the Black of the Mirror:  “Delpeut is a careful and visual writer and knows how to awaken life with his descriptions of the wanderings through landscape paintings. […] Not a book that you read in one go, but that in small fragments you take in.” —het Parool  “A compelling masterpiece. […] Literature at its best: obsessive, detailed, curious and full of tantalizing reflections and encounters.”  —Groene Amsterdammer  “The book is thicker than my fist because Peter Delpeut elaborates. A detail from a [painting] can take many pages, […] Delpeut writes in a meandering, micro-detailed way, but also with fascinating mindfulness; he forces you to look far from our present hectic existence. […] Delpeut does not impose anything. He leads the way. And the road is fascinating all the way to the end.” —Esquire, Netherlands Praise for Delpeut the filmmaker "Discussions about the work of Peter Delpeut are dominated by ...time. This unstoppable force, which hovers in the background of our daily lives exerting its endless influence on all things, could be considered Delpeut's professional forte." —Matthew Cole Levine, Found Footage Magazine "Fastidious and probing.... Delpeut is a filmmaker of merit, considered a pioneer of the found footage turn in contemporary cinema and art." —Millennium Film Journal