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Books on the topic 'Barnes (Firm)'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Ross Barney Architects: Process + projects. Mulgrave, Vic: Images, 2007.

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Bernthal, Mark. Barney & BJ go to the fire station. Allen, Tex: Barney Pub., 1996.

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3

Wojtasik, Ted. No strange fire. Scottsdale, Penn: Herald Press, 1996.

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4

Amery, Heather. Barn on fire. London: Usborne, 2004.

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5

Printing, London College of. BA Film and Video thesis 1989: An interview with Barney Platts Mills. London: LCP, 1989.

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6

Inc, Feld Entertainment. Barnum's kaleidoscape. Vienna, VA: Feld Entertainment, Inc., 1999.

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7

O'Nan, Stewart. The circus fire. New York: Doubleday, 2000.

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8

United States. National Transportation Safety Board. Fire aboard the tug Scandia and the subsequent grounding of the tug and the tank barge North Cape on Moonstone Beach, South Kingston, Rhode Island, January 19, 1996. Washington, D.C: National Transportation Board, 1998.

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9

O'Nan, Stewart. The circus fire: A true story. New York: Doubleday, 2000.

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10

O'Nan, Stewart. The circus fire: A true story. New York: Doubleday, 2000.

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11

Buckland, Warren, and Daniel Fairfax, eds. Conversations with Christian Metz. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089648259.

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From 1968 to 1991 the acclaimed film theorist Christian Metz wrote several remarkable books on film theory: Essais sur la signifi cation au cinéma, tome1 et 2; Langage et cinéma; Le signifiant imaginaire; and L’Enonciation impersonnelle. These books set the agenda of academic film studies during its formative period. Metz’s ideas were taken up, digested, refined,reinterpreted, criticized and sometimes dismissed, but rarely ignored. This volume collects and translates into English for the first time a series of interviews with Metz, who offers readable summaries,elaborations, and explanations of his sometimes complex and demanding theories of film. He speaks informally of the most fundamental concepts that constitute the heart of film theory as an academic discipline — concepts borrowed from linguistics, semiotics, rhetoric, narratology, and psychoanalysis. Within the colloquial language of the interview, we witness Metz’s initial formation and development of his film theory. The interviewers act as curious readers who pose probing questions to Metz about his books, and seek clarification and elaboration of his key concepts. We also discover the contents of his unpublished manuscript on jokes, his relation to Roland Barthes, and the social networks operative in the French intellectual community during the 1970s and 1980s.

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12

Thayer, Stuart. Grand entrée: The birth of the greatest show on earth, 1870-1875. San Bernardino, Calif: Borgo Press, 1998.

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13

Roy, Donald H. Women and children first: The horrible Hartford circus fire. [Philadelphia, PA: Xlibris Corporation, 2008.

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14

1948-, Davey Rick, ed. A matter of degree: The Hartford Circus fire and mystery of Little Miss 1565. Simsbury, Conn: Willow Brook Press, 2001.

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15

Fairfax, Daniel. The Red Years of Cahiers du cinéma (1968-1973). NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048543908.

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The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. The Red Years of Cahiers du Cinéma (1968-1973) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote.

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16

Cohn, Henry S. The great Hartford circus fire: Creative settlement of mass disasters. New Haven: Yale University Press, 1991.

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17

Shader, Nancy M. Office of the Public Records Administrator and State Archives subject guide to the Hartford Circus Fire, July 6, 1944. Hartford, Conn: Connecticut State Library, 2000.

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18

Johnson, Mark, Michael Apted, Andrew Adamson, and Philip Steuer. Las crónicas de Narnia: La travesía del viajero del Alba : The chronicles of Narnia : The voyage of the Dawn treader. México, D.F: Twenty Century Fox Home Entertainment, 2011.

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19

Smith, Mary-Ann Tirone. Masters of illusion. New York: Warner Books, 1994.

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20

Smith, Mary-Ann Tirone. Masters of illusion. Thorndike, Me: G.K. Hall, 1995.

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21

Board, United States National Transportation Safety. Marine accident report: Ramming of the Eads Bridge by barges in tow on the M/V Anne Holly with subsequent ramming and near breakaway of the President Casino on the Admiral, St. Louis Harbor, Missouri, April 4, 1998. Washington, D.C: The Board, 2000.

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22

Pichon, Alain Le. Béthanie & Nazareth: French secrets from a British colony. Hong Kong: The Hong Kong Academy for Performing Arts, 2006.

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23

F.K. Barnes & Sons' monthly timber circular: Bristol, July 1st, 1862. Bristol [England]: F.K. Barnes, 1985.

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24

Bernthal, Mark. Barney and BJ Go to the Fire Station (Go To... (Barney)). Tandem Library, 1996.

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25

Dracula. New York, NY, USA: Fine Creative Media, 2004.

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26

Jewett, Sarah Orne. The Country of the Pointed Firs and Selected Short Fiction (Barnes & Noble Classics Series) (Barnes & Noble Classics). Barnes & Noble Classics, 2005.

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27

George, E. A. J. Return to an Order of the Honourable the House of Commons Dated 18 July 1995 for the Report of the Board of Banking Supervision Inquiry into the Circumstances of the Collapse of Barings. Stationery Office Books, 1995.

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28

Wojtasik, Ted. No Strange Fire. Bt Bound, 1999.

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29

Stoker, Bram. Dracula. New York, NY, USA: Barnes & Noble Classics, 2005.

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30

BT barn book. [Fergus, Ont.?: Beatty Bros. Limited, 1994.

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31

Pierre, Laura Anne St. Barnett Newman and Alain Resnais: The presentation of being in painting and film. 1997.

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32

Pierre, Laura Anne St. Barnett Newman and Alain Resnais: The presentation of being in painting and film. 1997.

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33

Wharton, Edith. The Age of Innocence (Barnes & Noble Classics). Barnes & Noble Classics, 2004.

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34

Amery, Heather. Barn on fire. 2017.

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35

Cartwright, Stephen, and Heather Amery. Barn on Fire. Usborne Publishing, Limited, 2005.

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36

Penrose, Angela. An academic Indian summer. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198753940.003.0015.

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After her husband’s death in 1984 and retirement from INSEAD Edith enjoyed the resurgence of interest in her work and its increasing influence on aspects of economic, business, and management theory and on a younger generation of economists, many of whom visited her at her home near Cambridge. The chapter examines the influence of her seminal ideas on some key protagonists of the ‘resource-based view of the firm’, e.g. David Teece, Birger Wernerfelt, J. C. Spender, and Jay Barney. Due to her understanding of the international firm, in particular the oil industry, she undertook consultancies pertaining to arbitration between oil companies and national governments.

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37

VEP: Salomon Smith Barney 2003 (Vault Employer Profile). Vault, Inc., 2002.

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38

Dracula. New York, USA: Fine Creative Media, Inc., 2003.

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39

O'Nan, Stewart. Circus Fire, The. Paperback Nova Audio Books, 2001.

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40

O'Nan, Stewart. Circus Fire, The. 3rd ed. Brilliance Audio, 2004.

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41

O'Nan, Stewart. Circus Fire, The. Nova Audio Books, 2000.

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42

O'Nan, Stewart. Circus Fire, The. Unabridged Library Edition, 2000.

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43

O'Nan, Stewart. Circus Fire, The. Brilliance Audio on MP3-CD, 2004.

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44

O'Nan, Stewart. Circus Fire, The. Brilliance Audio Unabridged, 2000.

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45

Barnet, Cheyne Eliza, and Canada Supreme Court, eds. In the Supreme Court of Canada: Appeal from the judgement of the Court of Appeal for Ontario, between Burns & Lewis, on behalf of themselves ... and Eliza Barnet Cheyne, James D. Wilson, and the W.E. Sanford Manufacturing Company (Limited), defendants .. London, Ont: Advertiser Print. and Pub. Co., 1987.

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46

Lamberti, Edward. Performing Ethics Through Film Style. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.001.0001.

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Emmanuel Levinas’s ethical philosophy has had a significant influence on film theory in recent years. This book proposes a relationship between Levinasian ethics and film style. It argues that films can convey Levinasian ethics not just through their subject matter but also through their use of style. The book brings this relationship between ethics and style into a productive dialogue with theories of performativity, such as J. L. Austin’s speech-act theory, Jacques Derrida’s notion of originary performativity and Judith Butler’s reconfiguration of performativity within the socio-political sphere. It explores Levinas’s influence on film through the study of three directorial bodies of work: those of the Dardenne brothers, Barbet Schroeder and Paul Schrader. The book focuses on a range of films, including the Dardennes’ Je Pense à Vous (1992), La Promesse (1996), Le Fils (2002) and The Kid with a Bike (2011), Schroeder’s Maîtresse (1975), Reversal of Fortune (1990), Terror’s Advocate (2007) and Our Lady of the Assassins (2000) and Schrader’s American Gigolo (1980), Mishima: A Life in Four Chapters (1985), The Comfort of Strangers (1990), Dominion: Prequel to the Exorcist (2005) and Adam Resurrected (2008). In doing so, it demonstrates how films can perform a Levinasian ethics through different styles.

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47

Fay, Jennifer. The Ecologies of Film Noir. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696771.003.0004.

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Postwar American film noir explores an artificial world that does not foster human happiness and growth, but leads to a kind of human incapacity to act and respond. Beyond merely depicting these negative environments, noir lays bare the attachments to bad living and unsustainable striving that underwrite the accumulating culture of the Anthropocene at midcentury. Positioning itself as the genre that critiques postwar peaceful prosperity, noir gives us the characters, places, and scripts for human expiration as the counter to both nuclear survivalism and consumer capitalism. The hospitality of film noir is rental property. Indeed, impermanent dwelling of the individual and humanity as a whole is one of noir’s lessons for the Anthropocene. American noir is an ecological genre that teaches us in the spirit of Roy Scranton’s book how “to die in the Anthropocene.”

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48

Hanaway-Oakley, Cleo. Reciprocal Seeing and Embodied Subjectivity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0002.

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This chapter considers the previous ways in which literary scholars have used film theory in their interpretations of Ulysses. Joyce scholars have tended to favour the psychoanalytic film theories of Christian Metz and Laura Mulvey, employing them in their analyses of the relationship between Gerty and Bloom in the ‘Nausicaa’ episode of Ulysses. Phenomenology is offered as an alternative approach, as a way of seeing beyond the seemingly rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. Starting from Merleau-Ponty’s ‘The Film and the New Psychology’ (1945), then moving on to consider the ideas of contemporary film phenomenologists (such as Vivian Sobchack, Spencer Shaw, and Jennifer Barker), the second half of the chapter outlines the insights provided by phenomenology, focusing on the reciprocity of cinematic perception and the embodied nature of film spectatorship.

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49

Jones, Tanya. Studying Pan's Labyrinth. Liverpool University Press, 2010. http://dx.doi.org/10.3828/liverpool/9781906733308.001.0001.

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Pan's Labyrinth (2006) is a film of extraordinary technical achievement and intense emotional impact, garnering acclaim from both critics and audiences alike. Such a rich cinematic text demands close scrutiny and comprehensive study. This book begins with a close study of Pan's Labyrinth as a very challenging piece of film-making. It talks about Pan's Labyrinth's stunning visual beauty, haunting lullaby theme that evoke the tragedy of the protagonist Ofelia, and masterful combination of fantasy and horror conventions to produce a barbed, threatening, but beautiful, cinematic landscape. The book guides the reader through a detailed analysis of the film, concentrating on the generation of meaning for the viewer. It maps technical choices and how they capture human experience and political conflict. It also details the processes of production, distribution, and exhibition. Specific examples from a range of film texts enable a vivid grasp of technical vocabulary, therefore providing readers with the tools to analyze other films as well.

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50

Tulloch, John, and Belinda Middleweek. “Intimacy is what hurts when it’s gone”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0005.

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This chapter considers the contestation within film studies between the “spectator” and the “social audience,” focusing on the real sex film Blue Is the Warmest Colour. It explores Horeck and Kendall’s edited book The New Extremism in Cinema, which puts in apposition chapters predominantly employing a textual analysis with Martin Barker’s stand-alone social audience study. Barker rejects spectator analysis as purely speculative and “particularly disappointing and disturbing” aspects of film studies and culture generally. Instead of this mutual apposition, the chapter explores, in a pilot social audience study of Blue Is the Warmest Colour, Jennifer Hyndman’s feminist call for a blending of interdisciplinary dialogical “understanding” with “galvanizing extension.” The study deploys qualitative methodology seldom used in cinema studies and generates new findings, both at the substantive experiential level and in terms of methodological differences in interviewing style.

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