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In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Person theorizes this figure's protean temporality and revisionist capabilities and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-holocaust testimonial cinemas. The book contextualizes Zavattini's proposal that in neorealism everyone should act his own story in a sort of anti-individualist, public display (Love in the City and We the Women). It checks the convergence between verité experiments, a heightened self-critique in France and the reception of psychodrama in France (Chronicle of a summer and The Human Pyramid) in the late fifties. And, through Bazin, it reflects on the quandaries of celebrity biopics: how the circularity of the star's iconography is checked by her corporeal limits (Sophia her Own Story and the docudrama Torero!). In Person traces a shift from the exemplary and transformative ethos of fifties reenactment towards the un-redemptive stance of contemporary reenactment films such as Lanzmann's Shoah, Zhang Yuan's Sons, Andrea Tonacci's Hills of Chaos. It defines continuities between verite testimony (Chronicle, and Moi un Noir) and later para-juridical films such as the Karski Report and Rithy Panh's S21, the Khmer Rouge Killing Machine suggesting the power of co-presence and in person actualization for an ethics of viewership.

Since the 1990s, the knowledge, culture, and entertainment industries have found themselves experimenting, not altogether voluntarily, with communicating complex information across multiple media platforms. Against a backdrop of competing national priorities, changing technologies, globalization, and academic capitalism, these industries have sought to reach increasingly differentiated local audiences, even as distributed production practices have made the lack of authorial control increasingly obvious. As Katie King describes in Networked Reenactments, science-styled television—such as the Secrets of Lost Empires series shown on the PBS program Nova—demonstrates how new technical and collaborative skills are honed by television producers, curators, hobbyists, fans, and even scholars. Examining how transmedia storytelling is produced across platforms such as television and the web, she analyzes what this all means for the humanities. What sort of knowledge projects take up these skills, attending to grain of detail, evoking affective intensities, and zooming in and out, representing multiple scales, as well as many different perspectives? And what might this mean for feminist transdisciplinary work, or something sometimes called the posthumanities?

“These photos are no longer just dusty old pictures, but rather have become very real moments in time from our collective past, frozen forever in color.”--John C. Guntzelman The Civil War comes alive as never before in this extraordinary collection of colorized photographs from the era. Not only does it feature portraits of famous leaders and ordinary soldiers but also vignettes of American life during the conflict: scenes from urban and plantation life; destroyed cities; contested battlefields. The 200+ photographs, from the Library of Congress's archives, include both well-known and rarely seen images.  Also inside--a fine art ready-to-frame photographic print of a stunning colorized Civil War photograph. 

New Book. Shipped from UK. Established seller since 2000.

'At last, the past has arrived! Performing Remains is Rebecca Schneider's authoritative statement on a major topic of interest to the field of theatre and performance studies. It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments.' - Tavia Nyong'o, Tisch School of the Arts, New York University 'I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider’s book seems to me to be that book. Her work is challenging, thoughtful and innovative and will set the agenda for study in a number of areas for the next decade.' - Jerome de Groot, University of Manchester Performing Remains is a dazzling new study exploring the role of the fake, the false and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears. Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the "America" plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic´ and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the "original."

These days, the term “reenactment” usually refers to live reconstructions of historic events, often of a military nature, performed by hobbyists. Civil War reenactments are the most popular in the United States, while European enthusiasts most often engage in recreations from the Napoleonic era. Visual art has its own versions. Recent years have brought many reenactments of historic performances from the 1960s and 1970s, works which otherwise would exist only in photos, videos, and text descriptions. But what exactly is being reenacted, and what is the effect of the representation? What meaning is resurrected out of this “doubling”? In the exhibition Life, Once More, contemporary works and texts by Mike Bidlo, Bik Van der Pol, Rod Dickinson, Omer Fast, Andrea Fraser, Robert Longo, Eran Schaerf, Catherine Sullivan and Barbara Visser reflect on these timely (and timeless) questions.

Good condition ex-library book with usual library markings and stickers.

Muslim Women and White Femininity: Reenactment and Resistance is a much-needed book in a time when Muslim women are speaking out but also embodying White femininity. This book focuses on how Whiteness travels through Muslim women’s bodies, who in turn reenact or resist White womanhood, by examining three relevant archetypes: the Oppressed, the Advocate, and the Humanitarian Leader. The author aims to demonstrate the necessity of archetypal criticism as a method that can teach the reader or student how to deconstruct dominant discourses in the media. This book aims to address intercultural, gender, intersectional and critical communication courses but is also suited for those in the general public who wish to understand the deceptive nature of the media. Thus, at a time where Muslim women are being used as media objects by Western media, this book is crucial in analyzing how readers can begin to uncover dominant ideologies that are carried through and by Muslim women.

'At last, the past has arrived! Performing Remains is Rebecca Schneider's authoritative statement on a major topic of interest to the field of theatre and performance studies. It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments.' - Tavia Nyong'o, Tisch School of the Arts, New York University 'I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider’s book seems to me to be that book. Her work is challenging, thoughtful and innovative and will set the agenda for study in a number of areas for the next decade.' - Jerome de Groot, University of Manchester Performing Remains is a dazzling new study exploring the role of the fake, the false and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears. Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the "America" plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic´ and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the "original."

This carfully prepared book is an information-filled guide for the beginning muzzleloader and plainsman. It is the most in-depth discussion on these subjects ever written, and it is an invaluable tool for anyone wanting to learn the skills and history of the Plainsmen. The book begins by investigating the rebirthof the black powder experience in America. The author explains that the muzzleloading adventure of today involves much more than just guns. Art, history, science, nature and philosophy all become part of the hobby. The reader is led through many catefories of muzzleloading, including kit building, hunting and reenactments. A thorough review of Plains history from 1820 to 1876 is included. The westward push of all American settlers and their interactions with the Indians is discussed. The major trailsan dthe men and women who traveled them are shown and explained. The author examines the different lifestyles of those men and women of the Plains - the raders, soldiers and hunters. Along with a detailed description of their lives, he presents a review of the firearms they used, accompanied by photographs of authentic clothing for both men and women are shown. Four chapters are dvoted to modern hunting with muzzleloading weapons. Everything from supply lists to food is included for those who enjoy camping and hunting with black power. Whether the hunt is for big game or small, all the details are given to assure an enjoyable experience. This book is a "must have" for active black powder enthusiasts and for all wanting to enjoy the thrill of authentic plains reenactments. With its many photographs, numerous suggestions for hunting, camping, and rendezvous activities; and extensive lists of suppliers of goods and services, it is truly a complete guide for beginning this lifetime hobby.

Named for the traditional marching command, this has become a stirring part of Sousa reenactment concerts. Sousa wrote it while conductor of the U....

Inspired by the 1938 report of the La Follette Civil Liberties Committees investigation into the repression of labor organizing, Leo Hurwitz and Paul Strands biting and beautiful Native Land (1942, though largely shot between 37 and 39) combines documentary footage with staged reenactments to depict the struggle of trade unions against corporations, their spies and contractors. Legendary singer, actor and activist Paul Robeson narrates the film through words and song, lending the work a sense of

Named for the traditional marching command, this has become a stirring part of Sousa reenactment concerts. Sousa wrote it while conductor of the U....

At the annual Pea Festival, Regina Price Palmer--the innovative director of the Snellen Museum--is shot to death during a noisy reenactment of a Civil War battle. Single mom and sometime sleuth Jane Jeffry's part-time work at the museum soon puts her in the midst of a veritable podful of murder suspects.

From late medieval reenactments of the Deposition from the Cross to Sol Lewitt's Buried Cube, Depositions is about taking down images and about images that anticipate being taken down. Foretelling their own depositions, as well as their re-elevations in contexts far from those in which they were made, the images studied in this book reveal themselves to be untimely--no truer to their first appearance than to their reappearances.In Depositions, Amy Powell makes the case that late medieval paintings and ritual reenactments of the Deposition from the Cross not only picture the deposition of Christ (the Imago Dei) but also allegorize the deposition of the image as such and, in so doing, prefigure the lowering of "dead images" during the Protestant Reformation. Late medieval pre-figurations of Reformation iconoclasm anticipate, in turn, the repeated "deaths" of art since the advent of photography: that is the premise of the vignettes devoted to twentieth-century works of art that conclude each chapter of this book.In these vignettes, images that once stood in late medieval churches now find themselves among works of art from the more recent past with which they share certain formal characteristics. These surreal encounters compel us to reckon with affinities between images from different times and places. Turning pseudomorphosis--formal resemblance where there is no similarity of artistic intent -- on its head, Powell explores what happens to our understanding of historically and conceptually distant works of art when they turn out to look alike.

Welcome to the Veggie Christmas Show! Little ones will be captivated by a Christmas extravaganza that starts with a guitar solo by Larry and ends with a Veggie reenactment of the first Christmas night. With cheerful hearts and spirits, the Veggies remind others of the simple joy of Christmas. Readers will love this festive VeggieTales story and the accompanying sound button that plays "Joy to the World."

Out of the chaos, darkness, and violence of the Middle Ages, one family seized control of England, holding on to power and ruthlessly crushing all competition for more than 300 years. Through dramatic reenactments, historical documents, and masterful storytelling, Britain's Bloodiest Dynasty: The Plantagenet's tells a tale more shocking and brutal than anything found in fiction. Presented by award-winning journalist and acclaimed historian Dan Jones, The Plantagenet's is history like you've neve

Americans have persistently expressed fascination with the nation's most famous battlefields through patriotic rhetoric, monument building, physical preservation, and battle reenactment. But each site is also a place where different groups of Americans come to compete for ownership of cherished national stories and to argue about the meaning of war, the importance of martial sacrifice, and the significance of preserving the nation's patriotic landscape. From the anniversary speeches at Lexington and Concord that shaped the image of the minuteman to Alamo Day speeches invoking the Texas "freedom fighters" of 1836 in support of the contras in Nicaragua; from passionate arguments over the placement of Confederate monuments at Gettysburg to confrontations between militant American Indian Movement and "Custer loyalists" during the Little Bighorn centennial in 1976; from the treatment of the USS Arizona at Pearl Harbor to continuing attempts to maintain the purity of these places in the face of commercialization---Sacred Ground details the ongoing struggles to define, control, and subvert patriotic faith as expressed at these ceremonial sites.

Cotillion: A formal gathering of bright young women on the verge of entering adulthood, the society pages, and prospective high-tax-bracket marriages. Think a Civil War reenactment with crisp, clean white dresses.Catfight: An impromptu gathering of not-so-young women on the verge of losing their cool. Think a cotillion with hair-pulling.It’s been more than a year since the Kudzu Debutantes exacted sweet, merciless revenge on their cheating husbands, but the repercussions are still palpable throughout Ithaca, Georgia: Nita is anxiously preparing herself for marriage to Jimmy Lee, a man thirteen years her junior; Lavonne, despite having dropped her husband–and eighty pounds–and launched her own business, longs for love; and while Eadie remains married to Trevor, she feels more neglected than ever.So the occasion of Nita’s second wedding seems like just the ticket to cheer up the disconsolate Debs. But they’ve made a formidable enemy in Virginia Broadwell, first lady of Ithaca and the bride’s ex-mother-in-law. Hell-bent on vengeance and determined to restore old-school social mores, Virginia hatches a plan so devious it makes her pedicured toes curl in anticipation.Soon enough, the women are knocked for a loop–but you can keep a Kudzu Debutante down for only so long. The one thing stronger than Virginia’s wrath is the bond between the three friends, who soon learn that one of Virginia’s Jimmy Choos contains an irresistible Achilles’ heel. With spirit, wit, and down-home gumption, the take-no-prisoners trio decides it’s time to ditch their cotillion manners as they rally to save Nita’s marriage, Lavone’s business, Eadie’s sanity . . . and the honor of Kudzu Debs the world over. Packed with authentic Southern flavor and characters as colorful as an azalea in full bloom, The Secret Lives of the Kudzu Debutantes serves up stinging one-liners and earthy wisdom in equal measure.

Forget those serene manger images you see on Christmas cards. A Christmas Odyssey revisits the Christmas story as Connie and Eugene “crash” Bethlehem for Jesus' birth. “Silent Night?” Hardly! Then zoom back to the present for a Kids' Radio reenactment that's too close for comfort: “Mary” goes into premature labor! There's enough drama to go around for several Christmases. Or multiple replays. Whichever comes first.