Greta Garbo proclaimed him as her favorite director. Actors, actresses, and even child stars were so at ease under his direction that they were able to deliver inspired and powerful performances. Academy--Award--nominated director Clarence Brown (1890--1987) worked with some of Hollywood's greatest stars, such as Clark Gable, Joan Crawford, Mickey Rooney, Katharine Hepburn, and Spencer Tracy. Known as the "star maker," he helped guide the acting career of child sensation Elizabeth Taylor (of whom he once said, "she has a face that is an act of God") and discovered Academy--Award--winning child star Claude Jarman Jr. for The Yearling (1946). He directed more than fifty films, including Possessed (1931), Anna Karenina (1935), National Velvet (1944), and Intruder in the Dust (1949), winning his audiences over with glamorous star vehicles, tales of families, communities, and slices of Americana, as well as hard-hitting dramas. Although Brown was admired by peers like Jean Renoir, Frank Capra, and John Ford, his illuminating work and contributions to classic cinema are rarely mentioned in the same breath as those of Hollywood's great directors. In this first full-length account of the life and career of the pioneering filmmaker, Gwenda Young discusses Brown's background to show how his hardworking parents and resilient grandparents inspired his entrepreneurial spirit. She reveals how the one--time engineer and World War I aviator established a thriving car dealership, the Brown Motor Car Company, in Alabama -- only to give it all up to follow his dream of making movies. He would not only become a brilliant director but also a craftsman who was known for his innovative use of lighting and composition. In a career spanning five decades, Brown was nominated for five Academy Awards and directed ten different actors in Oscar-nominated performances. Despite his achievements and influence, however, Brown has been largely overlooked by film scholars. Clarence Brown: Hollywood's Forgotten Master explores the forces that shaped a complex man -- part--dreamer, part--pragmatist -- who left an indelible mark on cinema.

Watching and recording the gradual dismantling of life, beauty and diversity in our oceans is a tortuous experience for scientists. Our oceans function as earth’s organs and our survival depends on their health. Yet in the last fifty years half of coral reefs have disappeared, only 10% of large fish remain and many species are at the brink of collapse. Unsustainable fishing practices, pollution – including 20 million tonnes of plastic entering the oceans yearly – and rising temperatures are continued threats. Even as the sense of urgency to save our oceans continues to grow, at the time we publish this book, an estimate of only 2% of all global philanthropic and charitable donations go to protecting the environment. Of this, only a tiny fraction go toward supporting and safeguarding our oceans. Brimming with spectacular, full-page photography of underwater scenes from the Pacific, Atlantic, Indian, Southern and Arctic oceans and many seas, Call of the Blue tells the stories of positive, focused people who are working to save our oceans. The first book of its kind, Call of the Blue unites more than 100 modern-day explorers, sailors, free divers, film-makers, lawmakers and conservationists who talk about their lives, passions and exploits on, in or under the water. Call of the Blue demonstrates how the efforts of individuals and communities can inspire and drive change. Notable contributors include United States Senator Sheldon Whitehouse; explorer and BBC presenter Paul Rose; Danish environmentalist and Director General of the IUCN Inger Andersen; French photojournalist and UNEP Goodwill Ambassador Yann Arthus-Bertrand; and American marine biologist Edith Widder (to name only a few). Contributors include hardworking men and women from around the world including the United Kingdom, the United States, Australia, Canada, France, India, Mozambique, Mauritius, Ecuador and more. Alongside these passionate and necessary voices, Philip Hamilton’s mesmerising images – of reefs, blue whales, salt water crocodiles, manatees, sea lions, sailfish, penguin, mantas, jellyfish, turtles, sharks, pygmy sea horses and more – provide readers a glimpse of some of the world’s most stunning underwater locations, bringing into sharp focus all we are at risk to lose.

In the thirty years since their immigration from Ethiopia to the State of Israel, Ethiopian-Israelis have put music at the center of communal and public life, using it alternatingly as a mechanism of protest and as appeal for integration. Ethiopian music develops in quiet corners of urban Israel as the most prominent advocate for equality, and the Israeli-born generation is creating new musical styles that negotiate the terms of blackness outside of Africa. For the first time, this book examines in detail those new genres of Ethiopian-Israeli music, including Ethiopian-Israeli hip-hop, Ethio-soul performed across Europe, and eskesta dance projects at the center of national festivals. This book argues that in a climate where Ethiopian-Israelis fight for recognition of their contribution to society, musical style often takes the place of political speech, and musicians take on outsize roles as cultural critics. From their perch in Tel Aviv, Ethiopian-Israeli musicians use musical style to critique a social hierarchy that affects life for everyone in Israel/Palestine.

Jacopo Tintoretto (1518/19-1594) was among the most distinctive artists of the Italian Renaissance. Yet, although his bold paintings are immediately recognizable, his drawings remain unfamiliar even to many scholars. Drawing in Tintoretto’s Venice offers a complete overview of Tintoretto as a draftsman. It begins with a look at drawings by Tintoretto’s precedents and contemporaries, a discussion intended to illuminate Tintoretto’s sources as well as his originality, and also to explore the historiographical and critical questions that have framed all previous discussion of Tintoretto’s graphic work. Subsequent chapters explore Tintoretto’s evolution as a draftsman and the role that drawings played in his artistic practice—both preparatory drawings for his paintings and the many studies after sculptures byMichelangelo and others—thus examining the use of drawings within the studio as well as teaching practices in the workshop. Later chapters focus on the changes to Tintoretto’s style as he undertook ever larger commissions and accordingly began to manage a growing number of assistants, with special attention paid to Domenico Tintoretto, Palma Giovane, and other artists whose drawing style was infl uenced by their time working with the master.The book is published in conjunction with the exhibition Drawing in Tintoretto’s Venice, opening at the Morgan Library& Museum, New York, in 2018 and travelling to the National Gallery of Art, Washington, in early 2019. All of the drawings in the exhibition are discussed and illustrated, and a checklist of the exhibition is also included in the volume, but the book is a far more widely ranging account ofTintoretto’s drawings and a comprehensive account of his work as a draftsman.

E Pornô, tem pornô? represents a panorama of both Brazilian Porn Industry and studies. From the early Pornochanchadas’ productions – that were more erotical than explicitly pornographical, playing with a highly sexualized culture and flair for the sarcastical and comical – to the contemporary ambience of the netporn; with its amateur performanes and selfpornifications. The articles presented in this book are more than a survey of the history of Brazilian Porn, they are also a statement of a theoretical, political and historical field of studies that has been developing within the last decade. The feminine issues in Brazilian Porn are stressed by most of the articles of the book, focusing on a case study of the Women in Prision films - a subgenre that was very popular during late 1970s and begining of the 1980s. This panorama represents an important and groundbreaking mapping of a peculiar and popular domain of productions as well as theoretical and political field of studies.

Emily Andersen has been making photographic portraits of the international avant-garde since graduating from the Royal College of Art in the early 1980s. Having started out by finding her way into some pretty cool-sounding private parties in London and New York, she began convincing artists and musicians to pose for her – from Nan Goldin to Nico. Over the past thirty-five years, she has built up a remarkable and beautiful portfolio that includes many high-profile writers, poets, film directors, actors and architects, with Peter Blake, Michael Caine, Derek Jarman, Zaha Hadid, Arthur Miller, Helen Mirren, Michael Nyman and Eduardo Paolozzi among those featured in this new publication devoted to her black-and-white portraits. In addition to celebrities, Andersen has documented many interesting and inspiring figures who are celebrated and respected within their fields, offering an invaluable insight into the lives of people who have made significant contributions to the wider cultural and creative life of the USA, Britain and Europe over the current and recent generations. An illuminating essay by critic Jonathan P. Watts not only explores the lives of some of Andersen’s many sitters and the photographs she has taken of them, but also get to grips with ideas such as the nature of portraiture, photojournalism and the limitations of the documentary photograph, framing them within debates of the late 1980s onwards. ‘While all of these portraits may not be recognisably activist images’, asserts Watts, ‘they’re rooted in the belief of a micro-politics of everyday lives and relationships.’ Readers can discover more about the background, circumstances and dynamics of many of the shoots by means of notes prepared by Andersen herself to accompany each image, which are regularly entertaining and thought-provoking as well as informative. Beyond capturing the essence of these figures and of the times in which they are living, Andersen has a particular talent for entering into their private lives and private spaces, often being invited into her sitters’ own homes. By photographing family members and friends, she gets an angle on them that is often deeply personal, sensitive and honest. Creating works that are carefully composed and choreographed and yet regularly informal and relaxed, there is always, somehow, a sense that Andersen is more interested in encouraging her subjects to speak through her images than in imposing her own impressions upon them. It is also fascinating to note how Andersen is often keen to document the young children of celebrities, especially girls, and has made a substantial body of work of fathers and daughters. She is always interested to know what these young women grew up to be, and sometimes returns to photograph the same people years, if not decades, later. Andersen has been commissioned for innumerable magazines and newspapers including the New Musical Express (NME), The Face, Elle Deco, Domus, The Times, The Guardian, The Independent, The Sunday Telegraph and The Economist, and has been commissioned by publishers such as Quadrille, Simon and Schuster, Oxford University Press, Hachette, Random House and Harper Collins. Her works have been exhibited internationally in venues including The Photographers’ Gallery, London; The Institute of Contemporary Art, London; The Scottish National Portrait Gallery, Edinburgh; The Barber Institute of Fine Arts, University of Birmingham; Massachusetts Museum of Contemporary Art; Jehangir Art Gallery, Mumbai; and China Arts Museum, Shanghai. A winner of the John Kobal prize for portraiture, she has a number of works in The National Portrait Gallery, London and in other public collections including The British Library, London, and The Contemporary Art Society, London. Andersen is a senior lecturer in photography at Nottingham Trent University.Designed by Melanie Mues of Mues Design, London, with reprography by DPM, London, and printed by EBS, Verona, this stunning hardback monograph has been released in both a trade edition published by Anomie and as an artist’s limited edition of fifty signed and numbered copies, accompanied by an original print.The cover image is of the Chilean-French filmmaker Alejandro Jodorowsky and his son, Axel, in London in 1989.

Madame Vuillard is a particular focus of the work produced during the initial decade of Édouard Vuillard’s (1868 - 1940) career, the 1890s, when Vuillard was a member of the Nabis and forging an artistic identity as part of the Parisian avant-garde. During this period Vuillard and his widowed mother shared a series of modest rented apartments in central Paris in which the artist sustained a works-on-paper and (from 1897) amateur photographic practice out of his ‘studio-bedroom’, whilst in the dining room Madame Vuillard ran the corsetry business employing a handful of seamstresses including Vuillard’s sister. In these apartments Vuillard and Madame Vuillard operated mutually supportive, parallel working practices, to the extent that Vuillard put his mother and the fabric of her atelier ‘in the picture’ whilst she posed for his pencil and camera or developed his photographs in the kitchen. Their Parisian co-habitation, and Vuillard’s portrayal of his mother across a range of pictorial media, lasted until Madame Vuillard’s death as an elderly woman in 1928. This mutuality of working and living practice will constitute one of the themes of this unique loan exhibition, drawn from UK and Parisian collections and featuring paintings, lithographs and other works on paper as well as photographs. It will also explore the diverse domestic roles and responsibilities of a petit-bourgeois widow at the turn of the century in works that portray Madame Vuillard as seamstress; resting after dinner; imparting maternal advice and care to her daughter; as a woman at her toilette; and as the apartment’s cook and cleaner. The exhibition will also foreground Vuillard’s practice as modernist artist by focusing on the maternal fi gure in relation to the specifi c formal properties of his work. These include, in the 1890s at least, the paintings’ diminutive size; their shallow, simplifi ed compositional structure worked over with dense webs or matt patches of pigment; and the omission of spaces between fi gures and things. It was the intimacy (sometimes serious or witty, often banal) of their maternal motifs, the intimate formal relation between fi gure and ground and the intimateviewing conditions these small works required of their viewers that caught the attention of Vuillard’s earliest critics, who in the 1890s fi rst labeled him an ‘intimiste’ artist. This exhibition and accompanying illustrated catalogue will locate Madame Vuillard as muse, as motif andas everyday practical support at the core of Vuillard’s developing Intimism; an artistic corpus spanning 40 years. The exhibition catalogue will feature an essay on Madame Vuillard’s role in her son’s practice by the exhibition’s curator, Dr Francesca Berry, and an essay on Vuillard and photography by Mathias Chivot of the Archives Vuillard-Archives Roussel, Paris.

From the late 1960s until the present day, a significant number of women playwrights have emerged in Scottish theatre who have made a pioneering contribution to dramatic innovation and experimentation. Despite the critical reassessment of some of these authors in the last twenty years, their invaluable achievement in playwriting, within and outside Scotland, still deserves more thorough investigations and fuller acknowledgement. This work explores what is still uncharted territory by examining a selection of representative texts by Ann Marie di Mambro, Marcella Evaristi, Sue Glover, Jackie Kay, Liz Lochhead, Sharman Macdonald, and Joan Ure. The three macro-thematic areas of the book – the rewriting of the Shakespearean canon; the representation of female communities and minorities; and the conflicts between the self and society – find significant and paradigmatic expression in their dramas. All seven writers examined in this book have explored new theatrical methods, introduced aesthetic innovations and opened new perspectives to engage with the complexities of national, community and individual identities. This study will surely contribute to wider recognition of their achievement, so that their work can never again be described as “uncharted territory”.

Roots in Reverse explores how Latin music contributed to the formation of the négritude movement in the 1930s. Taking Senegal and Cuba as its primary research areas, this work uses oral histories, participant observation, and archival research to examine the ways Afro-Cuban music has influenced Senegalese debates about cultural and political citizenship and modernity. Shain argues that the trajectory of Afro-Cuban music in twentieth century Senegal illuminates many dimensions of that nation’s cultural history such as gender relations, generational competition and conflict, debates over cosmopolitanism and hybridity, the role of nostalgia in Senegalese national culture and diasporic identities. More than just a new form of musical enjoyment, Afro-Cuban music provided listeners with a tool for creating a public sphere free from European and North American cultural hegemony.

This innovative and compelling study reconsiders Whistler’s work from the context of his military service and his relationship with ‘nature at the margins’. Whistler came from a family of soldiers and engineers; his father, Major George Washington Whistler, was originally a US military engineer. Drawing and mapmaking were important components of the military training that Whistler acquired as an offi cer cadet at West Point Academy in 1851-4 and subsequently in the Drawing Department at the US Coast and Geodetic Survey,where he attempted to realise his father’s hopes that he would make engineering or architecture his profession. These infl uences in turn shaped Whistler’s attitude towards nature, as expressed in works ranging from his celebrated London ‘Nocturnes’ to his French coastal scenes – all of which were created after Whistler moved permanently to Europe in 1855. Whistler’s close observation of nature and its moods underpinned his powerful and haunting visions of nineteenth-century life. His images explore the contrasts between the natural and man-made worlds: rivers and wharves, gardens and courtyards, the ideal and the naturalistic. And his singular vison was always defi ned by his enduring affi nity with the makers of railways, bridges and ships, the cornerstones of Victorian wealth and trade. Infl uenced by Rembrandt, Whistler’s early etchings of London are notable for their focus on line and topographical accuracy. From the 1860s, his enthusiasm for Japanese art, too, infl uenced his attitude to perspective and spatial relations between objects. This led him, in his London Nocturnes, to reduce the external world before him to its bare bones. Whistler’s smoky images of warehouses, bridges, harbours and tall ships were designed to showcase a new kind of productive, wealth-generating landscape. It is a view of nature constrained by man-made structures: the shadowy outline of the warehouses and chimneys on the far shore; the mast and rigging of a Thames barge in the middle distance. This absorbing book reassesses a familiar and notoriously colourful artistic fi gure in a fascinating and pertinent new light, and is an important new contribution to our understanding of the Victorian art world and its physical context.

A legendary beauty, hailed as one of the greatest singing actors of her time, Jarmila Novotná (1907--1994) was an internationally known opera soprano from the former Czechoslovakia. Best known for her performances in Der Rosenkavalier, The Marriage of Figaro, and La Traviata, she was a celebrated performer at the Metropolitan Opera and other theaters across Europe and the United States. A "natural screen actress," Novotná also appeared in Hollywood hits such as The Search (1948) with Montgomery Clift (with whom she shared an enduring friendship) and The Great Caruso (1951) with Mario Lanza. She was also considered a pioneering "crossover" star who performed on Broadway, and worked in radio and television with Bing Crosby and Abbott and Costello. This gifted artist captivated audiences worldwide, and while she was still a young woman, the Czech government treated her as a national heroine and its cultural ambassador.In Jarmila Novotná: My Life in Song, editor William V. Madison brings Novotná's own English-language version of her best-selling memoir to readers for the first time. The memoir details how, following her debut in 1925 at the National Theater in Prague, her fame quickly evolved into a tremendous musical career at a time of unprecedented political upheaval. Novotná provides eyewitness accounts of the Nazi takeovers of Germany and Austria, the Soviet occupation of Czechoslovakia, and the aftermath of the Velvet Revolution in 1989, as well as her extensive travels in the United States during and after World War II.Throughout the memoir, lavishly illustrated with photos from her personal collection, Novotná shares entertaining stories about her time in Hollywood, an "unending stream of parties" -- including those hosted by Louis B. Mayer, co-founder of MGM Studios -- alongside such stars as Jimmy Stewart and Elizabeth Taylor. Novotná also offers revealing profiles of many notable artistic figures of the time, including director Max Reinhardt, composer Cole Porter, and conductor Arturo Toscanini, and dignitaries such as Dwight Eisenhower and TomᚠGarrigue Masaryk, the first president of Czechoslovakia. This fascinating self-portrait offers a window on history and the reflections of a captivating and supremely talented figure who left an indelible mark on the performing arts.

Connecticut boasts some of the oldest and most distinctive architecture in New England, from Colonial churches and Modernist houses to refurbished nineteenth-century factories. The state’s history includes landscapes of small farmsteads, country churches, urban streets, tobacco sheds, quiet maritime villages, and town greens, as well as more recent suburbs and corporate headquarters. In his guide to this rich and diverse architectural heritage, Christopher Wigren introduces readers to 100 places across the state. Written for travelers and residents alike, the book features buildings visible from the road. Featuring more than 200 illustrations, the book is organized thematically. Sections include concise entries that treat notable buildings, neighborhoods, and communities, emphasizing the importance of the built environment and its impact on our sense of place. The text highlights key architectural features and trends and relates buildings to the local and regional histories they represent. There are suggestions for further reading and a helpful glossary of architectural termsA project of the Connecticut Trust for Historic Preservation, the book reflects more than 30 years of fieldwork and research in statewide architectural survey and National Register of Historic Places programs.

The South Korean percussion genre, samul nori, is a world phenomenon whose rhythmic form is the key to its popularity and mobility. Based on both ethnographic research and close formal analysis, author Katherine In-Young Lee focuses on the kinetic experience of samul nori, drawing out the concept of dynamism to show its historical, philosophical, and pedagogical dimensions. Breaking with traditional approaches to the study of world music that privilege political, economic, institutional, or ideological analytical frameworks, Lee argues that because rhythmic forms are experienced on a somatic level, they swiftly move beyond national boundaries and provide sites for cross-cultural interaction.

Patricia Wengraf is one of the world’s leading dealers in bronzes, sculpture and works of art. In her particular speciality, bronzes of the 15th-18th centuries, her knowledge and connoisseurship are of world repute. This exquisite catalogue - the first sales catalogue ever published by the dealer - presents a selection of exceptional works. Accompanies an exhibition in New York City.

Acknowledged as the journal of record in its field, American Furniture presents new research on furniture design, use, production, and appreciation. Begun in 1993, this award-winning annual provides a comprehensive forum on furniture history, technology, connoisseurship, and conservation by the foremost scholars in the field. It is the only interdisciplinary journal devoted exclusively to furniture made or used in the Americas from the seventeenth century to the present.

Steve Fitch is among America’s most well-known chroniclers of the American West since the days of Easy Rider. He has been photographing examples of the West’s changing vernacular landscape and vanishing roadside landmarks for more than 40 years. In his new book, he presents both the ancient and the modern by way of petroglyphs, neon motel signs and hand-painted business signs, drive-in movie theater screens, and radio and cell towers. All of them are now endangered because of the advent of the Interstate Highway System and corporate franchises.In this fascinating and comprehensive account, we are able to join in Fitch’s expansive journey, truly an odyssey, as represented in the book’s 120 unforgettable photographs, all sequenced to mimic the open road—both during day and night. Fitch explains the project in his informative introduction, in which, interestingly, he suggests that the petroglyphs of the ancient Pueblo people have endured far better and longer than anything made during the last sixty years. Curator Toby Jurovics, in his insightful concluding essay, positions Fitch’s work in relation to that of the practitioners of the photographic style known as the “New Topographics” and Fitch’s own view of photography as a visual form of cultural anthropology. Vanishing Vernacular: Western Landmarks is sure to become a modern-day classic, a book that will be all the more revered as America and Americans move farther away from the highways of the past. That economy and roadside culture are vanishing like endangered species, but Fitch was along for the ride. In sharing that past, he has been witness to his own form of historic preservation.