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Academic literature on the topic 'Jambel, Laure'
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Dissertations / Theses on the topic "Jambel, Laure"
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Jambel, Laure. "Iconographie de la féminité." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67125.
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La photographie est mon médium artistique et l'image apporte une fonction relationnelle. En effet, ma démarche est guidée au départ par la rencontre de personnes. Lors de la recherche de maîtrise j’ai voulu explorer différentes représentations de la femme. En collaboration avec des personnes que je nommerai modèles, j’ai créé cinq portraits, pour tenter de saisir une part de leur identité. Les rencontres ont permis de développer leurs récits. Au fur et à mesure des rendez-vous, un dialogue s'est établi tissant des liens entre nous afin de coconstruire le projet, de le préciser et de le transformer : un jeu entre ce qu’elles ont bien voulu montrer, ce que j'ai perçu, ce qu’elles désiraient et ce que j’ai imaginé et construit. En plus des matrices photographiques, j’ai utilisé plusieurs moyens de création : la vidéo, l’écriture, la programmation de rythmes lumineux, etc. Les oeuvres ont pris alors la forme d’environnement se déployant dans l’espace utilisant certains phénomènes d’illusion. Les réunir dans un même lieu leur a donné sens.
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White, James Greely. "Grieve, but not without hope a review of resources that have proved helpful during my journey through loss and grief /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p062-0293.
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Phillips, Nathan C. "Beyond Fidelity: Teaching Film Adaptations in Secondary Schools." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1910.pdf.
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Melkner, Moser Linda. "Character Narrators, the Implied Author, and the Authorial Audience: A Rhetorical and Ethical Reading of Octavia E. Butler’s Parable of the Talents." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-49262.
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This essay considers the interplay between character narrators, the implied author, and the authorial audience in Octavia Butler’s Parable of the Talents. The aim of the study was to investigate how narrators, the implied author, and readers position themselves in relation to each other and in relation to the novel’s ethical dimensions. The theoretical framework is based on James Phelan’s theories on the rhetorical and ethical aspects of fiction. The essay argues that the implied author’s communication to the authorial audience is one of the reasons that the novel, like its prequel Parable of the Sower, often succeeds to function as warnings to the audience of dangers ahead. This is especially true regarding one of the implied author’s most consistent messages to the audience throughout the Parable novels: every choice has consequences, and those consequences need to be considered when we decide how to act and react in different circumstances, both as individuals and as a society.
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Faust, Marjorie Ann Hollomon. "The Great Gatsby and its 1925 Contemporaries." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/english_diss/26.
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ABSTRACT This study focuses on twenty-one particular texts published in 1925 as contemporaries of The Great Gatsby. The manuscript is divided into four categories—The Impressionists, The Experimentalists, The Realists, and The Independents. Among The Impressionists are F. Scott Fitzgerald himself, Willa Cather (The Professor’s House), Sherwood Anderson (Dark Laughter), William Carlos Williams (In the American Grain), Elinor Wylie (The Venetian Glass Nephew), John Dos Passos (Manhattan Transfer), and William Faulkner (New Orleans Sketches). The Experimentalists are Gertrude Stein (The Making of Americans), E. E. Cummings (& aka “Poems 48-96”), Ezra Pound (A Draft of XVI Cantos), T. S. Eliot (“The Hollow Men”), Laura Riding (“Summary for Alastor”), and John Erskine (The Private Life of Helen of Troy). The Realists are Theodore Dreiser (An American Tragedy), Edith Wharton (The Mother’s Recompense), Upton Sinclair (Mammonart), Ellen Glasgow (Barren Ground), Sinclair Lewis (Arrowsmith), James Boyd (Drums), and Ernest Hemingway (In Our Time). The Independents are Archibald MacLeish (The Pot of Earth) and Robert Penn Warren (“To a Face in a Crowd”). Although these twenty-two texts may in some cases represent literary fragmentations, each in its own way also represents a coherent response to the spirit of the times that is in one way or another cognate to The Great Gatsby. The fact that all these works appeared the same year is special because the authors, if not already famous, would become famous, and their works were or would come to represent classic American literature around the world. The twenty-two authors either knew each other personally or knew each other’s works. Naturally, they were also influenced by writings of international authors and philosophers. The greatest common elements among the poets and fiction writers are their uninhibited interest in sex, an absorbing cynicism about life, and the frequent portrayal of disintegration of the family, a trope for what had happened to the countries and to the “family of nations” that experienced the Great War. In 1925, it would seem, Fitzgerald and many of his writing peers—some even considered his betters—channeled a major spirit of the times, and Fitzgerald did it more successfully than almost anyone.
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Brown, Morgan Alexander. "The Pleiadic Age of Stuart Poesie: Restoration Uranography, Dryden's Judicial Astrology, and the Fate of Anne Killigrew." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/77.
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The following Thesis is a survey of seventeenth-century uranography, with specific focus on the use of the Pleiades and Charles's Wain by English poets and pageant writers as astrological ciphers for the Stuart dynasty (1603-1649; 1660-1688). I then use that survey to address the problem of irony in John Dryden's 1685 Pindaric elegy, "To the Pious Memory of Mrs. Anne Killigrew," since the longstanding notion of what the Pleiades signify in Dryden's ode is problematic from an astronomical and astrological perspective. In his elegiac ode, Dryden translates a young female artist to the Pleiades to actuate her apotheosis, not for the sake of mere fulsome hypberbole, but in such a way that Anne (b. 1660-d. 1685) signifies for the reign of Charles II (1660-1685) in her Pleiadic catasterism. The political underpinnings of Killigrew's apotheosis reduce the probability that Dryden's hyperbole reserves pejorative ironic potential.
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Širl, Radim. "Narativy a náboženství: specifika a funkce příběhů v náboženských kontextech." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-343089.
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The aim of this thesis is to analyse certain aspects connecting religion and narration (which is understood here as a common human faculty to think and express oneself in the form of narratives). The first part of the thesis is concerned with methodology; first of all, the issues of defining narrative are introduced and a more elaborate definition is presented. A complete methodology is then formulated with a help of several authors (mainly James W. Pennebaker and Mary Douglas) in order to distinguish particularities and functions of creating narratives in religious contexts. Two main points are stressed here: that the content of the narratives is often concerned with problematic aspects of experience and that the expression of these narratives is beneficial for their creators. The second part focuses on several religious institutions concerned with creation of narratives which are interpreted with the outlined methodology. In this manner, the act of confession in Catholicism, prayer in Christianity and certain healing rituals are described and interpreted. Conclusions of this thesis should help the reader get a basic idea of the way created narratives in religious contexts affect their authors.
Books on the topic "Jambel, Laure"
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Bateman, Benjamin. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190676537.003.0001.
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The Introduction argues for a modernist art of queer survival that departs from the selfish competitiveness and compulsory heterosexuality of early twentieth century social Darwinism. As rendered by the literary imaginations of Henry James, Oscar Wilde, E. M. Forster, and Willa Cather, queer survival is collective in nature and builds upon the interdependencies of proximate and precarious lives. This modernist archive is placed in dialogue with Jacques Derrida’s ruminations on hospitality, Judith Butler’s writing on ethics and vulnerability, contemporary psychoanalyst Michael Eigen’s theory of “mutual permeability,” and Lauren Berlant’s concepts of “slow death” and “lateral agency.” The resulting conversation offers a new perspective on modernist subjectivity and a more optimistic understanding of futurity than do reigning paradigms in queer theory.
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Musselwhite, Paul, Peter C. Mancall, and James Horn, eds. Virginia 1619. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651798.001.0001.
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Virginia 1619 provides an opportunity to reflect on the origins of English colonialism around the Chesapeake Bay and the Atlantic world. As the essays here demonstrate, Anglo-Americans have been simultaneously experimenting with representative government and struggling with the corrosive legacy of racial thinking for more than four centuries. Virginia, contrary to popular stereotypes, was not the product of thoughtless, greedy, or impatient English colonists. Instead, the emergence of stable English Atlantic colonies reflected the deliberate efforts of an array of actors to establish new societies based on their ideas about commonwealth, commerce, and colonialism. Looking back from 2019, we can understand that what happened on the shores of the Chesapeake four hundred years ago was no accident. Slavery and freedom were born together as migrants and English officials figured out how to make this colony succeed. They did so in the face of rival ventures and while struggling to survive in a dangerous environment. Three hallmarks of English America--self-government, slavery, and native dispossession--took shape as everyone contested the future of empire along the James River in 1619. The contributors are Nicholas Canny, Misha Ewen, Andrew Fitzmaurice, Jack P. Greene, Paul D. Halliday, Alexander B. Haskell, James Horn, Michael J. Jarvis, Peter C. Mancall, Philip D. Morgan, Melissa N. Morris, Paul Musselwhite, James D. Rice, and Lauren Working.
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Kottmann, Nora, and Cornelia Reiher, eds. Studying Japan. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783845292878.
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Studying Japan is the first comprehensive guide on qualitative methods, research designs and fieldwork in social science research on Japan. More than 70 Japan scholars from around the world provide an easy-to-read overview on qualitative methods used in research on Japan’s society, politics, culture and history. The book covers the entire research process from the outset to the completion of a thesis, a paper, or a book. The authors provide basic introductions to individual methods, discuss their experiences when applying these methods and highlight current trends in research on Japan. The book serves as a foundation for a course on qualitative research methods and is, but can also be used as a reference for all researchers in Japanese Studies, the Social Sciences and Area Studies. It is an essential reading for students and researchers with an interest in Japan! With contributions by: Chapter: Celeste L. Arrington, David Chiavacci, Andreas Eder-Ramsauer, James Farrer, Roger Goodman, Carola Hommerich, Nora Kottmann, Gracia Liu-Farrer, Levi McLaughlin, Chris McMorran, Caitlin Meagher, Kaori Okano, Theresia B. Peucker, Cornelia Reiher, Katja Schmidtpott, Christian Tagsold, Katrin Ullmann, Gabriele Vogt, Cosima Wagner, Akiko Yoshida and Urs Matthias Zachmann. Essays: Shinichi Aizawa, Noor Albazerbashi, Daniel P. Aldrich, Allison Alexy, Verena Blechinger-Talcott, Christoph Brumann, Genaro Castro-Vázquez, David Chiavacci, Jamie Coates, Emma E. Cook, Laura Dales, James Farrer, Flavia Fulco, Isaac Gagné, Nana Okura Gagné, Sonja Ganseforth, Sheldon Garon, Julia Gerster, Christopher Gerteis, Markus Heckel, Steffen Heinrich, Joy Hendry, Swee-Lin Ho, Barbara Holthus, Katharina Hülsmann, Jun Imai, Hanno Jentzsch, Aya H. Kimura, Emi Kinoshita, Susanne Klien, Gracia Liu-Farrer, Patricia L. Maclachlan, Wolfram Manzenreiter, Kenneth M. McElwain, Lynne Y. Nakano, Scott North, Robin O’Day, Robert J. Pekkanen, Saadia M. Pekkanen, Isabelle Prochaska-Meyer, Nancy Rosenberger, Richard J. Samuels, Annette Schad-Seifert, Katja Schmidtpott, Tino Schölz, Kai Schulze, Kay Shimizu, Karen Shire, David H. Slater, Celia Spoden, Brigitte Steger, Nicolas Sternsdorff-Cisterna, Christian Tagsold, Akiko Takeyama, Daisuke Watanabe, Daniel White, Anna Wiemann and Tomiko Yamaguchi. Foreword: Ilse Lenz and Franz Waldenberger.
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James, Edward. An Introduction to Lois MCmaster Bujold. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039324.003.0001.
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This chapter sketches the life and career of Lois McMaster Bujold. Lois McMaster was born in Columbus, Ohio, on November 2, 1949, the third child and only daughter of Robert Charles McMaster and Laura Gerould McMaster. She began reading science fiction when she was nine years old. Her favorite writers in the field included Poul Anderson and James H. Schmitz. In 1971, she married John Bujold, whom she had met at a science fiction convention two years earlier. Bujold's first professional sale was a short story, “Barter,” which was published in Twilight Zone Magazine in spring 1985. It was later bought, adapted, and mutilated almost beyond recognition for the TV series Tales from the Darkside. She sold her first three books, Shards of Honor, The Warrior's Apprentice, and Ethan of Athos to Baen Books, which were released in paperback, in 1986, at three-month intervals, in June, August, and December.
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Ballestero, Andrea, and Brit Ross Winthereik, eds. Experimenting with Ethnography. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478013211.
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Experimenting with Ethnography collects twenty-one essays that open new paths for doing ethnographic analysis. The contributors—who come from a variety of intellectual and methodological traditions—enliven analysis by refusing to take it as an abstract, disembodied exercise. Rather, they frame it as a concrete mode of action and a creative practice. Encompassing topics ranging from language and the body to technology and modes of collaboration, the essays invite readers to focus on the imaginative work that needs to be performed prior to completing an argument. Whether exchanging objects, showing how to use drawn images as a way to analyze data, or working with smartphones, sound recordings, and social media as analytic devices, the contributors explore the deliberate processes for pursuing experimental thinking through ethnography. Practical and broad in theoretical scope, Experimenting with Ethnography is an indispensable companion for all ethnographers. Contributors. Patricia Alvarez Astacio, Andrea Ballestero, Ivan da Costa Marques, Steffen Dalsgaard, Endre Dányi, Marisol de la Cadena, Marianne de Laet, Carolina Domínguez Guzmán, Rachel Douglas-Jones, Clément Dréano, Joseph Dumit, Melanie Ford Lemus, Elaine Gan, Oliver Human, Alberto Corsín Jiménez, Graham M. Jones, Trine Mygind Korsby, Justine Laurent, James Maguire, George E. Marcus, Annemarie Mol, Sarah Pink, Els Roding, Markus Rudolfi, Ulrike Scholtes, Anthony Stavrianakis, Lucy Suchman, Katie Ulrich, Helen Verran, Else Vogel, Antonia Walford, Karen Waltorp, Laura Watts, Brit Ross Winthereik
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Hegland, Frode, ed. The Future of Text. Future Text Publishing, 2020. http://dx.doi.org/10.48197/fot2020a.
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This book is the first anthology of perspectives on the future of text, one of our most important mediums for thinking and communicating, with a Foreword by the co-inventor of the Internet, Vint. Cerf and a Postscript by the founder of the modern Library of Alexandria, Ismail Serageldin. In a time with astounding developments in computer special effects in movies and the emergence of powerful AI, text has developed little beyond spellcheck and blue links. In this work we look at myriads of perspectives to inspire a rich future of text through contributions from academia, the arts, business and technology. We hope you will be as inspired as we are as to the potential power of text truly unleashed. Contributions by Adam Cheyer • Adam Kampff • Alan Kay • Alessio Antonini • Alex Holcombe • Amaranth Borsuk • Amira Hanafi • Amos Paul Kennedy Jr. • Anastasia Salter • Andy Matuschak & Michael Nielsen • Ann Bessemans & María Pérez Mena • Andries Van Dam • Anne-Laure Le Cunff • Anthon Botha • Azlen Ezla • Barbara Beeton • Belinda Barnet • Ben Shneiderman • Bernard Vatant • Bob Frankston • Bob Horn • Bob Stein • Catherine C. Marshall • Charles Bernstein • Chris Gebhardt • Chris Messina • Christian Bök • Christopher Gutteridge • Claus Atzenbeck • Daniel Russel • Danila Medvedev • Danny Snelson • Daveed Benjamin • Dave King • Dave Winer • David De Roure • David Jablonowski • David Johnson • David Lebow • David M. Durant • David Millard • David Owen Norris • David Price • David Weinberger • Dene Grigar • Denise Schmandt-Besserat • Derek Beaulieu • Doc Searls • Don Norman • Douglas Crockford • Duke Crawford • Ed Leahy • Elaine Treharne • Élika Ortega • Esther Dyson • Esther Wojcicki • Ewan Clayton • Fiona Ross • Fred Benenson & Tyler Shoemaker • Galfromdownunder, aka Lynette Chiang • Garrett Stewart • Gyuri Lajos • Harold Thimbleby • Howard Oakley • Howard Rheingold • Ian Cooke • Iian Neil • Jack Park • Jakob Voß • James Baker • James O’Sullivan • Jamie Blustein • Jane Yellowlees Douglas • Jay David Bolter • Jeremy Helm • Jesse Grosjean • Jessica Rubart • Joe Corneli • Joel Swanson • Johanna Drucker • Johannah Rodgers • John Armstrong • John Cayle • John-Paul Davidson • Joris J. van Zundert • Judy Malloy • Kari Kraus & Matthew Kirschenbaum • Katie Baynes • Keith Houston • Keith Martin • Kenny Hemphill • Ken Perlin • Leigh Nash • Leslie Carr • Lesia Tkacz • Leslie Lamport • Livia Polanyi • Lori Emerson • Luc Beaudoin & Daniel Jomphe • Lynette Chiang • Manuela González • Marc-Antoine Parent • Marc Canter • Mark Anderson • Mark Baker • Mark Bernstein • Martin Kemp • Martin Tiefenthaler • Maryanne Wolf • Matt Mullenweg • Michael Joyce • Mike Zender • Naomi S. Baron • Nasser Hussain • Neil Jefferies • Niels Ole Finnemann • Nick Montfort • Panda Mery • Patrick Lichty • Paul Smart • Peter Cho • Peter Flynn • Peter Jenson & Melissa Morocco • Peter J. Wasilko • Phil Gooch • Pip Willcox • Rafael Nepô • Raine Revere • Richard A. Carter • Richard Price • Richard Saul Wurman • Rollo Carpenter • Sage Jenson & Kit Kuksenok • Shane Gibson • Simon J. Buckingham Shum • Sam Brooker • Sarah Walton • Scott Rettberg • Sofie Beier • Sonja Knecht • Stephan Kreutzer • Stephanie Strickland • Stephen Lekson • Stevan Harnad • Steve Newcomb • Stuart Moulthrop • Ted Nelson • Teodora Petkova • Tiago Forte • Timothy Donaldson • Tim Ingold • Timur Schukin & Irina Antonova • Todd A. Carpenter • Tom Butler-Bowdon • Tom Standage • Tor Nørretranders • Valentina Moressa • Ward Cunningham • Dame Wendy Hall • Zuzana Husárová. Student Competition Winner Niko A. Grupen, and competition runner ups Catherine Brislane, Corrie Kim, Mesut Yilmaz, Elizabeth Train-Brown, Thomas John Moore, Zakaria Aden, Yahye Aden, Ibrahim Yahie, Arushi Jain, Shuby Deshpande, Aishwarya Mudaliar, Finbarr Condon-English, Charlotte Gray, Aditeya Das, Wesley Finck, Jordan Morrison, Duncan Reid, Emma Brodey, Gage Nott, Aditeya Das and Kamil Przespolewski. Edited by Frode Hegland.
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Townsend, Sylvia. Bumpy Road. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496804143.001.0001.
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In meticulous detail, the book describes the filming, release, and influence of the 1971 film Two-Lane Blacktop. In 1970 the urbane producer Michael Laughlin asked the hippy filmmaker Monte Hellman to direct a script called Two-Lane Blacktop. The cult author Rudy Wurlitzer rewrote the script, the story of two scruffy hot rodders who pick up a girl hitchhiker and race their classic ’55 Chevy against a rich guy’s “factory –made hot rod,” a ’70 GTO Judge. In three of the four lead roles Hellman cast nonactors – the rock stars James Taylor and Dennis Wilson, and the director’s girlfriend, Laurie Bird. Hellman made an existentialist car-racing movie; nobody wins or even finishes the race, the protagonists are doomed to drive around endlessly. The film was slow-paced, the rock stars didn’t sing (and barely spoke), the movie had little music, and Hellman ignored other traditional crowd-pleasing conventions. When he resisted studio pressure to make the movie more conventional and commercial, it flopped at the box office. Universal failed to release the film on video, making it scarce and sought-after, and three of the four lead actors – Wilson Bird and Warren Oates, had untimely deaths, conferring mystique on the film. Many years after its release, the film gained wide acclaim, was released by the prestigious Criterion Collection and was preserved in the National Film Registry. In the book, the directors Wes Anderson, Richard Linklater and others tell how the movie influenced their work. Although Two-Lane Blacktop was a harbinger of the demise of New Hollywood films, brought about by the financial costs to Hollywood studios that allowed auteur directors to make non-commercial movies, had Hellman caved in to pressure to make the movie commercial, it would not have become a classic.
Book chapters on the topic "Jambel, Laure"
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Nader, Laura. "Reinventing Anthropology in the Seventies." In Laura Nader, 41–106. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752247.003.0003.
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This chapter talks about Dell Hymes, who put together a book of collected essays called Reinventing Anthropology at the invitation of Pantheon Books' “anti-text” series. It describes Reinventing Anthropology as a volume about racism, ecology, community and disciplinary censorship, which was not universally well received as noted by the Chicago anthropologist Fred Eggan. It also looks at the letter that was written in response to a query to the Columbia University sociologist Robert Merton about Thorstein Veblen and his use of the concept of trained incapacity. The chapter questions the role of sociology in understanding the way in which white-collar crime escaped the national crime index. It mentions the sociologist James Short, who wrote and document the paradigms used that allowed corporate criminals to escape crime statistics.
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Gerard, Philip. "Atrocity at Shelton Laurel." In The Last Battleground, 86–91. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469649566.003.0014.
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In January 1863, a gang of Unionists in mountainous Madison County raids Marshall for its store of salt-which has been denied hem by the Confederate commissioners. They extend their looting to the home of Col. Lawrence Allen, the commander of the 64th North Carolina who has been temporarily relieved of duty. He nonetheless joins a punitive expedition led by his cousin, Lt. Col. James Keith. They kill a number of Unionists, torture the wives and mothers of other suspects, and capture thirteen men and boys. On the pretext of marching them to Tennessee for trial, they take them in to the woods of Shelton Laurel and shoot them all down in cold blood. The women of Shelton Laurel discover the atrocity and recover the bodies, launching a manhunt and investigations that will eventually be taken up in the U.S. Congress.
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Townsend, Sylvia. "The Fast Lane: Sex, Drugs, and Rock ’n’ Roll Stars." In Bumpy Road, 84–95. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496804143.003.0005.
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In this chapter, the film company arrives in Tucumcari, New Mexico to shoot the gas station scene where the race is set up – a tour de force of cinematography. Jaclyn Hellman blows up at her husband, Monte, over his affair with the leading lady, 17-year-old Laurie Bird. Some of the cast and filmmakers indulge in drugs, but they don’t hinder the filmmaking much except for Dennis Wilson, who is stoned nearly all the time and can’t remember his lines. But he and the amateur, off-balance Laurie Bird cause Hellman to call for 10, 15 and even 25 takes when they blow their lines. Joni Mitchell visits her boyfriend, James Taylor, and the actor Harry Dean Stanton arrives for his scene, in which he plays a gay cowboy hitchhiker.
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"Giacometti: A Biography by James Lord: Laurie Wilson, Ph.D." In Psychoanalytic Perspectives on Art, V. 3, 312–17. Routledge, 2013. http://dx.doi.org/10.4324/9780203778456-19.
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Hall, E. Dawn. "Solidification: Certain Women." In ReFocus: The Films of Kelly Reichardt. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474411127.003.0009.
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This chapter is a close reading of the film Certain Women that explores lost and isolated characters who are content to remain outsiders or on the margins. Adapted from short stories by Maile Meloy, the film is divided into three episodes, and this chapter discusses the production methods, form, and content that focuses on working women and their relationships. Laura (Laura Dern) is a lawyer wrangling a volatile client; Gina (Michelle Williams) is a successful entrepreneur struggling to find balance within her family; and Jamie, a Native American rancher (Lily Gladtone) is battling isolation and infatuation with her teacher, Beth Travis (Kristen Stewart). Reichardt’s cinematic auteur characteristics are all showcased as is her thought-provoking social commentary. The expansive Montana landscapes and barren winter setting reflect the emotional state of the characters and Reichardt’s minimalism creates an authentic portrayal of a flawed, complex, and vulnerable humanity. The chapter also explores adaptation theory arguing that Reichardt creates a “new work of art” allowing audiences to add their own interpretations.
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Miller, Adrian. "Semisweet." In President's Kitchen Cabinet. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632537.003.0004.
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The presidential kitchen employed a number of free African Americans who worked side-by-side with enslaved people and indentured servants. After Emancipation, African Americans dominated the White House kitchen staff, and upon several occasions, the entire culinary workforce. These cooks come to the White House due to professional merit they possess, not the happenstance of being enslaved by the incumbent president. Still, these cooks faced a number of challenges and barriers, inside and outside of the White House, due to racial prejudice. The chapter chronologically profiles James Wormley, Lucy Fowler, Laura "Dollie" Johnson, Alice Howard, John Moaney and Zephyr Wright. These profiles indicate how they overcame various racial challenges. This chapter includes recipes for Pedernales River Chili, and President Eisenhower's Old-Fashioned Beef Stew.
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Townsend, Sylvia. "Stalled." In Bumpy Road, 28–43. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496804143.003.0002.
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This chapter relates how CBS Cinema Center Films agreed to make Two-Lane Blacktop and Monte Hellman chose cinematographer Gregory Sandor to shoot the film using wide-screen Techniscope. Over the objections of casting director Fred Roos, who brought in dozens of young, trained actors, Hellman chose rock stars for the two lead roles.: James Taylor, then a heroin addict who nevertheless was not using during the shoot, would play the Driver and Dennis Wilson, the Beach Boys’ drummer, a juvenile, drug-taking, erratic young man who had befriended the cult murderer Charles Manson, would play the Mechanic. Hellman’s girlfriend Laurie Bird would play the Girl, and Warren Oates would portray GTO. Hellman and associate producer Gary Kurtztravelled across the country scouting locations that they would use with minimal set dressing, since they had only a $1 million budget and no production designer. Then CBS dropped the film.
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Townsend, Sylvia. "On the Road." In Bumpy Road, 62–83. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496804143.003.0004.
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In this chapter, the filmmakers start shooting in Los Angeles, then take to the road, stopping in Needles, California; Flagstaff, Arizona; and Santa Fe, New Mexico, often travelling on smaller highways because street racers tend to avoid freeways populated by cops. A divide separates the hip actors and filmmakers from the more traditional, highly trained crew. The “above the line” filmmakers think the crew are right-wing yahoos, the crew thinks the filmmakers are inexperienced, pothead hippies. Indeed the untrained actors – Dennis Wilson, Laurie Bird and James Taylor -- flub lines, whistle and otherwise ruin scenes, necessitating repeated takes. Hellman withholds the script from his untrained actors, giving them only their lines for the day, generating their resentment. Hellman’s wife, Jaclyn, takes the amateur actors through sense memory exercises, dragging up painful recollections from their past and further irking them. Warren Oates joins the cast.
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Chaney, Michael A. "Mirror, Mask, and Mise en Abyme in Autobiographical Graphic Novels." In Reading Lessons in Seeing. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496810250.003.0002.
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This chapter theorizes the form of autobiographical graphic novels as well as their formal unconscious by analyzing the significance of mirror scenes of subject formation and fragmentation in Marjane Satrapi's two-volume autobiography Persepolis (2003), James Kochalka's American Elf: The Collected Sketchbook Diaries (1998–2004), David B.'s Epileptic (1996–2003; 2005), and Laurie Sandell's The Imposter's Daughter (2009). The chapter begins with the argument that the gutter separating the first two panels of Persepolis is a mirror and a mise en abyme (“to place into the abyss”), the classic trope of a reflection within a reflection. It then considers authorial self-portraiture (the I-con) in American Elf and how it acquires the symbolic potential to express an impossible relation to itself. It also discusses the significance of mirrors to autographic subjects in Imposter's Daughter and Epileptic and concludes that mirrors in the comics imply “failed encounters with the real”.
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Davidson, Michael. "Uncanny Encounters." In Invalid Modernism, 123–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198832812.003.0006.
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The emergence of affect theory has returned the body to cultural theory by stressing the phenomenological impact of bodies on other bodies. Chapter 6 opens with a reading of Baudelaire’s “Une Passante” that offers one such instance. Despite its emphasis on what Lauren Berlant calls the “messy dynamics of attachment,” affect theory has not attended to disability where the encounter with the non-traditional body incites emotions of anxiety, confusion, and in some cases solidarity. This chapter explores a structure of feeling around dynamic historical changes in the late nineteenth and early twentieth centuries through works by Sigmund Freud, Frank Norris, Henry James, Virginia Woolf, and Jean Toomer. Each illustrates stages in what Sara Ahmed calls “dramas of contingency” by which world historical changes are registered through quotidian moments of attention and confrontation. These stages mark a trajectory in the novel, from Realism and Naturalism to the modernism of Woolf and Toomer.