This study looks at artistic expressions that are often not directly related, such as art, dance, architecture and cinema. Ragghianti's study of cinema, the electronic image and art brings together a series of images under the heading "the art of vision". His theories have reinterpreted art history and continue to be relevant in the late 1990s. In this volume, architectural and set drawings, choreography sketches, theatrical maquettes, film and video installations are placed next to 200 works of major European artists of the 20th century.

This book aims to enhance our appreciation of the modernity of the classical cultures and, conversely, of cinema's debt to ancient Greece and Rome. It explores filmic perspectives on the ancient verbal and visual arts and applies what is often referred to as pre-cinema and what Sergei Eisenstein called cinematism: that paintings, statues, and literature anticipate modern visual technologies. The motion of bodies depicted in static arts and the vividness of epic ecphrases point to modern features of storytelling, while Plato's Cave Allegory and Zeno's Arrow Paradox have been related to film exhibition and projection since the early days of cinema. The book additionally demonstrates the extensive influence of antiquity on an age dominated by moving-image media, as with stagings of Odysseus' arrow shot through twelve axes or depictions of the Golden Fleece. Chapters interpret numerous European and American silent and sound films and some television productions and digital videos.

The first history of Frank Lloyd Wright's exhibitions of his own work—a practice central to his career More than one hundred exhibitions of Frank Lloyd Wright's work were mounted between 1894 and his death in 1959. Wright organized the majority of these exhibitions himself and viewed them as crucial to his self-presentation as his extensive writings. He used them to promote his designs, appeal to new viewers, and persuade his detractors. Wright on Exhibit presents the first history of this neglected aspect of the architect’s influential career. Drawing extensively from Wright’s unpublished correspondence, Kathryn Smith challenges the preconceived notion of Wright as a self-promoter who displayed his work in search of money, clients, and fame. She shows how he was an artist-architect projecting an avant-garde program, an innovator who expanded the palette of installation design as technology evolved, and a social activist driven to revolutionize society through design. While Wright’s earliest exhibitions were largely for other architects, by the 1930s he was creating public installations intended to inspire debate and change public perceptions about architecture. The nature of his exhibitions expanded with the times beyond models, drawings, and photographs to include more immersive tools such as slides, film, and even a full-scale structure built especially for his 1953 retrospective at the Guggenheim Museum. Placing Wright’s exhibitions side by side with his writings, Smith shows how integral these exhibitions were to his vision and sheds light on the broader discourse concerning architecture and modernism during the first half of the twentieth century. Wright on Exhibit features color renderings, photos, and plans, as well as a checklist of exhibitions and an illustrated catalog of extant and lost models made under Wright’s supervision.

In this comprehensive guide, some of the world's leading scholars consider the issues, films, and filmmakers that have given Italian cinema its enduring appeal. Readers will explore the work of such directors as Federico Fellini, Michelangelo Antonioni, and Roberto Rossellini as well as a host of subjects including the Italian silent screen, the political influence of Fascism on the movies, lesser known genres such as the giallo (horror film) and Spaghetti Western, and the role of women in the Italian film industry. Italian Cinema from the Silent Screen to the Digital Image explores recent developments in cinema studies such as digital performance, the role of media and the Internet, neuroscience in film criticism, and the increased role that immigrants are playing in the nation's cinema.

In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience. With the exception of Alain Resnais's Van Gogh (1948), Henri-Georges Clouzot's Le Mystère Picasso (1956) and a few others, most of them have received only scant scholarly attention. This book aims to rectify this situation by discussing the most lyrical, experimental and influential post-war art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships. With contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by André Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others.

The Encyclopedia of Italian Literary Studies is a two-volume reference book containing some 600 entries on all aspects of Italian literary culture. It includes analytical essays on authors and works, from the most important figures of Italian literature to little known authors and works that are influential to the field. The Encyclopedia is distinguished by substantial articles on critics, themes, genres, schools, historical surveys, and other topics related to the overall subject of Italian literary studies. The Encyclopedia also includes writers and subjects of contemporary interest, such as those relating to journalism, film, media, children's literature, food and vernacular literatures. Entries consist of an essay on the topic and a bibliographic portion listing works for further reading, and, in the case of entries on individuals, a brief biographical paragraph and list of works by the person. It will be useful to people without specialized knowledge of Italian literature as well as to scholars.

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