Film, a latecomer to the realm of artistic media, alludes to, absorbs, and undermines the discourses of the other arts--literature and painting especially--in order to carve out a position for itself among them. Exposing the anxiety in film's relation to its rival arts, Brigitte Peucker analyzes central issues involved in generic boundary crossing as they pertain to film and situates them in a theoretical framework. The figure of the human body takes center stage in Peucker's innovative study, for it is through this figure that the conjunction of literary and painterly discourses persistently articulates itself. It is through the human body, too, that film's consciousness of itself as a hybrid text and as a "machine for simulation" makes itself deeply felt. In films ranging from Weimar cinema through Griffith, Hitchcock, and Greenaway, Peucker probes issues in aesthetics problematized by Diderot and Kleist, among others. She argues that the introduction of movement into visual representation occasioned by film brings with it an underlying tension suggestive of castration and death. Peucker goes on to demonstrate how the encounter between narrative and image is both gendered and sexualized, rendering film a "monstrous" hybrid. In a final section, she explores in specific cinematic texts the permeable boundary between the real and representation, suggesting how effects such as tableau vivant and trompe l'oeil figure sexuality and death. Originally published in 1995. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

With real-world projects, this authoritative book shows how successful sourcing, creation, and use of imagery can be applied to professional graphic design.

Fifteen papers focus on the active and dynamic uses of images during the first millennium AD. They bring together an international group of scholars who situate the period’s visual practices within their political, religious, and social contexts. The contributors present a diverse range of evidence, including mosaics, sculpture, and architecture from all parts of the Mediterranean, from Spain in the west to Jordan in the east. Contributions span from the depiction of individuals on funerary monuments through monumental epigraphy, Constantine’s expropriation and symbolic re-use of earlier monuments, late antique collections of Classical statuary, and city personifications in mosaics to the topic of civic prosperity during the Theodosian period and dynastic representation during the Umayyad dynasty. Together they provide new insights into the central role of visual culture in the constitution of late antique societies.

If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain. Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.

How and why to make visual communication a powerful competitive tool From digital cameras and camera phones to videoconferencing, visual communication technology is changing not only personal lives but global business relationships and communities of interest. Visual communication is an essential tool for every corporation-in any industry-that wants to stay competitive. Going Visual demonstrates how businesses can harness the power of digital images and video to communicate comprehensively and unambiguously. Through real-world success stories the authors outline a clear, simple, five-step plan for developing a Visual Communication Strategy that will sharpen every organization's competitive edge and improve its bottom line. Alexis Gerard (San Mateo, CA) is the founder of Future Image Inc., an imaging technology think tank whose clients include Adobe, Canon, Eastman Kodak, IBM, Intel, Procter & Gamble, and Sony. He previously held executive positions in new technologies marketing at Apple Computer. Bob Goldstein (Los Angeles, CA) has been the president and founder of ZZYZX Visual Systems, president of the Altamira Group, and a visual communication consultant to such companies as Eastman Kodak, Apple, Oracle, Microsoft, Intel, and Hewlett-Packard. Gerard and Goldstein have coauthored articles in Red Herring and Forbes.

Dreamweaver CS6 is the most capable website design and management program yet, but there's no printed guide to its amazing features. That's where Dreamweaver CS6: The Missing Manual comes in. You'll learn to use every facet of this versatile program, through jargon-free explanations and 13 hands-on tutorials. The important stuff you need to know: Get A to Z guidance. Go from building simple web pages to creating rich, interactive websites. Learn state-of-the-art design. Create dynamic, visually appealing sites using JavaScript and CSS, and see how HTML5 and CSS3 fit in. Add instant interactivity. Use Dreamweaver's unique Spry technology to easily add complex layout options, like drop-down menus. Use timesaving features. Take advantage of Dreamweaver's libraries, templates, and hundreds of extensions. Go mobile. Design sites for smartphones, tablets, and desktop PCs, using the same HTML. Simplify site management. Check for broken links, streamline site-wide changes, and reorganize your site in a snap.

Black River Art specializes in large sized books with awesome covers that will help you to express your individuality in the way you want to do it. This book has been PERSONALIZED with the name you see printed on the cover. This book which can be used as a journal, diary, daily planner, or notebook features: Undated pages so you can have the ability to set it up in whatever way you like. No more wasted predated pages. 105 lined pages to do with what you want. Spacious lines to give you plenty of room to write. None of those little boxes and squished lines that you will never use. Quality 60# paper A larger book size measuring 8 1/2" x 11" which is perfect for your desktop, backpack or briefcase. A beautiful, personalized and professionally designed, cover to let you express your individuality. Let's face it, you can't do that with a industry standard black cover, right? And most of all, the FREEDOM to use your book the way you want to, not the way someone else thinks you should. Don't see your name in our personalized book selection? Not a problem. Visit the author section below or click on our name at the top of the page to find out how we can get your name on a book within three to four business days for you to purchase on Amazon.