The Belgian photonovel is the missing link in the amazing history of the photonovel, a comics-inspired form of visual narrative that combines elements from very different genres and media, ranging from literary melodrama, cinema, and of course comics. This monograph discloses the specific Belgian contribution to the genre, in close connection with the singularities of the Belgian women’s and general magazines where these photonovels appeared. If the photonovel is generally considered a typically French or Italian genre, this study demonstrates the importance of a different tradition, which appropriated the foreign models in a very original way. Belgian photonovels are distinct, not only because they tell other kinds of stories, but also because they interact with other types of magazines in ways that are very different from the mainstream forms of the genre in Italy and France. Finally, this lavishly illustrated study is also the first in scrutinizing the technical aspects of magazine printing techniques in the development of the photonovel.

"This account of photography and cinema shows how the two media are not separate but in fact have influenced each other since their inception. David Campany explores photographers on screen, photographic and filmic stillness, photographs in film, the influence of photography on cinema, and the photographer as a filmmaker"--OCLC

"You will never know, nor will you, all the stories I kept telling myself as I looked at these images." With these words Jacques Derrida opens his reading of Marie-Francoise Plissart's hundred-page photo-novel. Originally published in France in 1985, this tour de force of word and image is available in English for the first time. Plissart's visual narrative unfolds in photographs, and photographs of photographs, in a kind of silent cinematography. Derrida's polylogue explores gender, photographic genre, time, language, and the interpretative act of seeing. The text and the photographs, each with its own structure and syntax, together illuminate what is at stake in the "right of inspection."

Now in its ninety-seventh year of publication, this standard Canadian reference source contains the most comprehensive and authoritative biographical information on notable living Canadians. Those listed are carefully selected because of the positions they hold in Canadian society; or because of the contribution they have made to life in Canada. The volume is updated annually to ensure accuracy, and 600 new entries are added each year to keep current with developing trends and issues in Canadian society. Included are outstanding Canadians from all walks of life: politics, media, academia, business, sports, and the arts, from every area of human activity. Each entry details birth date and place, education, family, career history, memberships, creative works, honours and awards, and full addresses. Indispensable to researchers, students, media, business, government, and schools, Canadian Who's Who is an invaluable source of general knowledge.

A complete guide to the comics work of the writer Alan Moore, this book helps readers explore one of the genre's most important, compelling and subversive writers. In an accessible and easy-to-navigate format, the book covers: · Moore's comics career – from his early work in 2000AD to his breakthrough graphic novels and his later battles with the industry · Moore's major works – including Watchmen, V for Vendetta, Saga of the Swamp Thing and Promethea · Key themes and contexts – from Moore's subversion of the superhero genre and metafictional techniques to his creative collaborations and battles with the industry for creator control · Critical approaches to Moore's work The book includes a bibliography of critical work on Moore and discussion questions for classroom use.

Eighteen essays written by Buchloh over the last twenty years, each looking at a single artist within the framework of specific theoretical and historical questions. Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman). One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject.