The Classic Study of the Occult Reintroduced in a 50th Anniversary Edition The Black Arts is a fascinating and wonderfully readable exploration of the practice, theory, and underlying rationale of magick and occultism in all its branches, including witchcraft, spells, numerology, astrology, alchemy, kabbalah, tarot, charms, and summoning and control of spirits. This edition features a 50th anniversary introduction by historian of alternative spirituality Mitch Horowitz, who frames the book for a new generation of readers.

The Classic Study of the Occult Reintroduced in a 50th Anniversary Edition The Black Arts is a fascinating and wonderfully readable exploration of the practice, theory, and underlying rationale of magick and occultism in all its branches, including witchcraft, spells, numerology, astrology, alchemy, kabbalah, tarot, charms, and summoning and control of spirits. This edition features a 50th anniversary introduction by historian of alternative spirituality Mitch Horowitz, who frames the book for a new generation of readers.

A prescient document of art-industry and museum critique from Black artists and writers, now in facsimile A collection of essays edited by artist and organizer Tom Lloyd and first published in 1971, Black Art Notes was a critical response to the Contemporary Black Artists in America exhibition at the Whitney Museum, but grew into a "concrete affirmation of Black Art philosophy as interpreted by eight Black artists," as Lloyd notes in the introduction. This facsimile edition features writings by Lloyd, Amiri Baraka, Melvin Dixon, Jeff Donaldson, Ray Elkins, Babatunde Folayemi, and Francis & Val Gray Ward. These artists position the Black Arts Movement outside of white, Western frameworks and articulate the movement as one created by and existing for Black people. Their essays outline the racism of the art world, condemning the attempts of museums and other white cultural institutions to tokenize, whitewash and neutralize Black art, and offer solutions through self-determination and immediate political reform. While the publication was created to respond to a particular moment, the systemic problems that it addresses remain pervasive, making these critiques both timely and urgent.

Colonial Trauma is a path-breaking account of the psychosocial effects of colonial domination. Following the work of Frantz Fanon, Lazali draws on historical materials as well as her own clinical experience as a psychoanalyst to shed new light on the ways in which the history of colonization leaves its traces on contemporary postcolonial selves. Lazali found that many of her patients experienced difficulties that can only be explained as the effects of “colonial trauma” dating from the French colonization of Algeria and the postcolonial period. Many French feel weighed down by a colonial history that they are aware of but which they have not experienced directly. Many Algerians are traumatized by the way that the French colonial state imposed new names on people and the land, thereby severing the links with community, history, and genealogy and contributing to feelings of loss, abandonment, and injustice. Only by reconstructing this history and uncovering its consequences can we understand the impact of colonization and give individuals the tools to come to terms with their past. By demonstrating the power of psychoanalysis to illuminate the subjective dimension of colonial domination, this book will be of great interest to anyone concerned with the long-term consequences of colonization and its aftermath.

“More than half a century since its initial publication, this deceptively compact book remains among the most incisive analyses of the formal and perceptual dynamics of cinema. No one who cares about film can afford to remain ignorant of its insights and wisdom. As digital technology fundamentally alters motion pictures, the lessons of Film as Art commend themselves as excellent insurance against reinventing the wheel in the new media landscape and hailing it as progress.”—Edward Dimendberg author of Film Noir and the Spaces of Modernity “After more than eight decades, Rudolph Arnheim's small book of film theory remains one of the essential works in defining film art, understanding film less as reproducing the world than as opening up new possibilities for formal play and unexpected imagery. Anyone serious about film, whether scholar, filmmaker or simply a lover of cinema, must take Arnheim seriously.”—Tom Gunning, author of The Films of Fritz Lang and D.W. Griffith and the Origins of American Narrative Film “An aesthetic theory based on the formal ‘limitations’ of the medium, Arnheim’s Film as Art always provokes students in an age of few limits and less formality, and they argue and engage this classic text with unparalleled passion. Written in the wake of sound’s transformation of the cinema, Arnheim’s essays are not only central to understanding a major historical moment in theoretical debates about what constitutes the ‘essence’ of film, but also are a must read for anyone seeking a lucid, detailed, and rigorous argument about how works of art emerge from expressive constraint as much as expressive freedom.”—Vivian Sobchack, author of Carnal Thoughts