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Book of Changes by Kristine MckennaKristine McKenna is an L.A based author who has been writing about art, film, music and literature since 1977 for nearly every major music and arts related magazine in the US. This is a collection of interviews she conducted with the famous and the great, with illustrations by seminal comic artists, Crumb, Roth, Woodring, Hernandez, Bagge and many more. McKenna's list of interviewees reads like a who's who in music and literature. James Brown, Beefheart, George Clinton, Leonard Cohen, Eno, Nici, Iggy, Burroughs, Ginserg -nearly every great mind of the 20th Century.
The Studs Terkel Reader by Studs TerkelA beautiful paperback edition of Terkel's greatest hits. For this volume, Studs himself selected the best interviews from eight of his classic books: American Dreams, Coming of Age, Division Street, The Good War, The Great Divide, Hard Times, Race and Working - together with his original introductions to each book. Published in the year of teh great man's 95th birthday, it's a keeper from the United States' foremost oral historian and the bestselling author of 12 legendary books of oral history.
Publication Date: 2007-05-01
The Allure of the Archives by Arlette Farge; Natalie Zemon Davis; Thomas Scott-Railton (Translator)An exquisite appreciation of the distinctive rewards of historical research and a classic guide to the personal yet disciplined craft of discovery, now in its first English translation. Arlette Farge's Le Goût de l'archive is widely regarded as a historiographical classic. While combing through two-hundred-year-old judicial records from the Archives of the Bastille, historian Farge was struck by the extraordinarily intimate portrayal they provided of the lives of the poor in pre-Revolutionary France, especially women. She was seduced by the sensuality of old manuscripts and by the revelatory power of voices otherwise lost. In The Allure of the Archives, she conveys the exhilaration of uncovering hidden secrets and the thrill of venturing into new dimensions of the past. Originally published in 1989, Farge's classic work communicates the tactile, interpretive, and emotional experience of archival research while sharing astonishing details about life under the Old Regime in France. At once a practical guide to research methodology and an elegant literary reflection on the challenges of writing history, this uniquely rich volume demonstrates how surrendering to the archive's allure can forever change how we understand the past.
Publication Date: 2015-02-24
Believing Is Seeing by Errol MorrisSelected by The New York Times Book Review as a Notable Book of the Year Academy Award-wining filmmaker Errol Morris investigates the hidden truths behind a series of documentary photographs. In Believing Is Seeing Academy Award-winning director Errol Morris turns his eye to the nature of truth in photography. In his inimitable style, Morris untangles the mysteries behind an eclectic range of documentary photographs, from the ambrotype of three children found clasped in the hands of an unknown soldier at Gettysburg to the indelible portraits of the WPA photography project. Each essay in the book presents the reader with a conundrum and investigates the relationship between photographs and the real world they supposedly record. During the Crimean War, Roger Fenton took two nearly identical photographs of the Valley of the Shadow of Death-one of a road covered with cannonballs, the other of the same road without cannonballs. Susan Sontag later claimed that Fenton posed the first photograph, prompting Morris to return to Crimea to investigate. Can we recover the truth behind Fenton's intentions in a photograph taken 150 years ago? In the midst of the Great Depression and one of the worst droughts on record, FDR's Farm Service Administration sent several photographers, including Arthur Rothstein, Dorothea Lange, and Walker Evans, to document rural poverty. When Rothstein was discovered to have moved the cow skull in his now-iconic photograph, fiscal conservatives-furious over taxpayer money funding an artistic project-claimed the photographs were liberal propaganda. What is the difference between journalistic evidence, fine art, and staged propaganda? During the Israeli-Lebanese war in 2006, no fewer than four different photojournalists took photographs in Beirut of toys lying in the rubble of bombings, provoking accusations of posing and anti-Israeli bias at the news organizations. Why were there so many similar photographs? And were the accusers objecting to the photos themselves or to the conclusions readers drew from them? With his keen sense of irony, skepticism, and humor, Morris reveals in these and many other investigations how photographs can obscure as much as they reveal and how what we see is often determined by our beliefs. Part detective story, part philosophical meditation, Believing Is Seeing is a highly original exploration of photography and perception from one of America's most provocative observers.
Call Number: TR820.5 .M676 2011 RESERVE
Publication Date: 2011-09-01
Portrait of Hemingway by Lillian RossThe definitive sketch of one of America's greatest writers. On May 13, 1950, Lillian Ross's first portrait of Ernest Hemingway was published in The New Yorker. It was an account of two days Hemingway spent in New York in 1949 on his way from Havana to Europe. This candid and affectionate profile was tremendously controversial at the time, to the great surprise of its author. Booklist said, "The piece immediately conveys to the reader the kind of man Hemingway was--hard-hitting, warm, and exuberantly alive." It remains the classic eyewitness account of the legendary writer, and it is reproduced here with the preface Lillian Ross prepared for an edition of Portrait in 1961. Ernest Hemingway was born on July 21, 1899, and to celebrate the centenary of this event, Ms. Ross wrote a second portrait of Hemingway for The New Yorker, detailing the friendship the two struck up after the completion of the first piece. It is included here in an amended form.
Hitchcock by François TruffautIconic, groundbreaking interviews of Alfred Hitchcock by film critic François Truffaut—providing insight into the cinematic method, the history of film, and one of the greatest directors of all time. In Hitchcock, film critic François Truffaut presents fifty hours of interviews with Alfred Hitchcock about the whole of his vast directorial career, from his silent movies in Great Britain to his color films in Hollywood. The result is a portrait of one of the greatest directors the world has ever known, an all-round specialist who masterminded everything, from the screenplay and the photography to the editing and the soundtrack. Hitchcock discusses the inspiration behind his films and the art of creating fear and suspense, as well as giving strikingly honest assessments of his achievements and failures, his doubts and hopes. This peek into the brain of one of cinema’s greats is a must-read for all film aficionados.
Call Number: PN1988.A3 H573 1984
Publication Date: 1985-10-02
Alfred Hitchcock: Interviews by Sidney Gottlieb (Editor)Even twenty years after his death and nearly fifty or more years after his creative peak, Alfred Hitchcock (1899-1980) is still arguably the most instantly recognizable film director in name, appearance, vision, and voice. Long ago, through a combination of timing, talent, genius, energy, and publicity, he made the key transition from proper noun to adjective that confirms celebrity and true stature. It is a rare film watcher indeed who cannot define "Hitchcockian." As the director of such films as Psycho, North by Northwest, Spellbound, Vertigo, Rear Window, To Catch a Thief, Notorious, and The Birds, Hitchcock has become synonymous with both stylish, sophisticated suspense and mordant black comedy. He was one of the most interviewed directors in the history of film. Among the hundreds of interviews he gave, those in this collection catch Hitchcock at key moments of transition in his long career--as he moved from silent to sound pictures, from England to America, from thrillers to complex romances, and from director to producer-director. These conversations dramatize his shifting attitudes on a variety of cinematic matters that engaged and challenged him, including the role of stars in a movie, the importance of story, the use of sound and color, his relationship to the medium of television, and the attractions and perils of realism. His engaging wit and intelligence are on display here, as are his sophistication, serious contemplation, and playful manipulation of the interviewer.
Call Number: PN1998.3.H58 A5 2003
Publication Date: 2003-04-15
Hannah Arendt the Last Interview and Other Conversations by Hannah ArendtHannah Arendt was one of the most important thinkers of her time, famous for her idea of 'the banality of evil' which continues to provoke debate. This collection provides new and startling insight into Arendt's thoughts about Watergate and the nature of American politics, about totalitarianism and history and her own experiences as an emigre. Hanna Arendt: The Last Interview forms part of a new series of pocket-sized interview collections, featuring conversations with some of the iconic writers and thinkers of our time.
Jane Campion by Virginia Wright Wexman (Editor)In outstanding films that are sharply focused on unusual women Jane Campion has gained worldwide admiration and respect. This New Zealand director first attracted international attention with her 1989 film Sweetie, an acerbic study of two sisters in a wildly dysfunctional family. She followed this in 1990 with the television miniseries An Angel at My Table, based on the autobiography of New Zealand author Janet Frame. Subsequently released in theatres, the film chronicles the early trials of the young writer. Poor, timid, and physically awkward, Frame was misdiagnosed as schizophrenic and was scheduled for a lobotomy, but her success as a writer enabled her to escape this fate and won her fame and acceptance. In 1993 in yet another story about an extraordinary woman, Campion made the award-winning film The Piano. It starred Holly Hunter as the Victorian mail-order bride who refuses to speak. Arriving in New Zealand with her young daughter, the young Scottish widow confronts isolation in the wilderness and communicates only via her piano until she finds real love in her husband's neighbor, played by Harvey Keitel. Campion next adapted Henry James's The Portrait of a Lady, starring Nicole Kidman as Isabel Archer, a young American heiress seduced by a decadent pair of expatriates living in Italy. In this collection of interviews Campion speaks of these films that have given women a revival as a strong screen presence. Campion tells of her early life in Wellington and of her training as a filmmaker in the 1980s at the Australian School of Film and Television. She speaks of those who have influenced her style and her experiences in making movies. Campion received the Academy Award for Best Original Screenplay in 1993 and was the first woman director to win the Palme d'Or at Cannes.
Call Number: PN1998.3.C3545 A3 1999
Publication Date: 1999-03-01
Bruce Conner: the Afternoon Interviews by V. Vale (Editor); Natasha Boas (Introduction by)From the late '70s to 2005, V. Vale interviewed Bruce Conner by telephone and in person mostly in the afternoons. Spontaneous yet insightful in his conversation, Conner is revealed as an innovative improvisatory artist whose goal in life seemed to be freedom and the transcendence of hidebound careerist conformity in all its bureaucratic manifestations. Therefore he created art that annihilated boundaries, categories and predictability. These interviews have never been transcribed and made public, until now. Bruce Conner: The Afternoon Interviews includes a revelatory introduction by art curator, writer and philosopher Natasha Boas. Boas positions Conner as a key artist of the late 20th- to early 21st-century, profiling Conner as a surprising role model for today's emergent and future artists.
Chatting with Henri Matisse by Henri Matisse; Pierre Courthion (As told to); Serge Guilbaut (Editor); Chris Miller (Translator)In 1941 the Swiss art critic Pierre Courthion interviewed Henri Matisse while the artist was in bed recovering from a serious operation. It was an extensive interview, seen at the time as a vital assessment of Matisse's career and set to be published by Albert Skira's then newly established Swiss press. After months of complicated discussions between Courthion and Matisse, and just weeks before the book was to come out--the artist even had approved the cover design--Matisse suddenly refused its publication. A typescript of the interview now resides in Courthion's papers at the Getty Research Institute. This rich conversation, conducted during the Nazi occupation of France, is published for the first time in this volume, where it appears both in English translation and in the original French version. Matisse unravels memories of his youth and his life as a bohemian student in Gustave Moreau's atelier. He recounts his experience with collectors, including Albert C. Barnes. He discusses fame, writers, musicians, politicians, and, most fascinatingly, his travels. Chatting with Henri Matisse, introduced by Serge Guilbaut, contains a preface by Claude Duthuit, Matisse's grandson, and essays by Yve-Alain Bois and Laurence Bertrand Dorl#65533;ac. The book includes unpublished correspondence and other original documents related to Courthion's interview and abounds with details about avant-garde life, tactics, and artistic creativity in the first half of the twentieth century.
Call Number: N6853.M33 A35 2013
Publication Date: 2013-08-15
Alain Elkann Interviews by Alain ElkannAlain Elkann has mastered the art of the interview. With a background in novels and journalism, and having published over twenty books translated across ten languages, he infuses his interviews with innovation, allowing them to flow freely and organically. Alain Elkann Interviews will provide an unprecedented window into the minds of some of the most well-known and -respected figures of the last twenty-five years.
Flipster is a web and app solution for reading complete digital surrogates of magazines. The SVA Library subscribes to 35 titles in Flipster; click more info for a complete title list.
Includes digital subscriptions to: 3x3, 3D World, Adbusters, The Advocate, Animation, Aperture, Art in America, Artforum International, Artichoke, ARTnews, The Atlantic, The Baffler, Bitch, Bon Appetit, Bookforum, Broken Pencil, Comics & Gaming, Communication Arts, Elephant, Empire, Esse Arts & Opinions, Essence, Frame, ImagineFX, Juxtapoz, Mother Jones, National Geographic, New Criterion, New York Review of Books, The New Yorker, Out, Paper, Rolling Stone, Time, and Wired.
The article discusses the practice of interviewing artists, focusing on art critic and curator Hans Ulrich Obrist's project "Interarchive." The author describes the interview format as a form of dual discourse, offering an interview by Dieter Schwartz with artist Gerhard Richter as an example. The author discusses the use of interviews in the work of African American artist Renée Green and American artist Andy Warhol. Specific topics include philosopher Louis Marin's work on interviewing, the fetishization of the artist's voice, and Obrist's practice of not interpreting interviews.
An interview with American documentary filmmaker Murray Lerner is presented. He discusses the subject of counterculture and popular music in his 1960s films. He describes his interviewing technique for his films. He discusses his films including "Message to Love: The Isle of Wight Festival" and "From Mao to Mozart: Isaac Stern in China."
Part of a special section on the role of interviews in film and television studies. Vicki Mayer discusses the current resurgence in film and media studies of ethnographic techniques and the expected reflections that accompany such methods. She suggests that this phenomenon may have as much to do with the new economy for audiovisual production as with intellectual curiosity. Mayer's own work examines communities of production practice in the new television economy, thinking about these producers in terms of overlapping fields of interactions. Mayer finds that the expansive web of producers and new production contexts has complicated the power relations that frame the social interactions between subjects as those researchers, such as herself, who are invested in ethnographic approaches to production. She emphasizes the importance of interviewers being aware of the way in which their work is becoming part of the professional discourses they are examining.
Interviews have been a key primary data source for research published in the Journal of Consumer Research. This tutorial aims to walk readers through the design and execution of interview-based empirical research on consumers and consumption.
This article investigates the strategies web-writers develop when their audiences respond to them via textual participation. Focusing on three web-writers who want to "continue the conversation," this article identifies five major strategies to accomplish this aim: (a) editing after production, (b) quotation, (c) question posing, (d) naming secondary writers, and (e) textual listening. Using the lens of writer-audience tension, I find that due to these web-writers' perceptions of audience, one that is partially externalized via the website's template, the term "audience" itself may not be a discrete concept, but a fluid, evolving, and recursive one, in other words, ongoing. These perceptions of audience reflect the unending nature of online texts and are exemplified by these five strategies.
To access this article, you will have to utilize the Interlibrary Loan function.
KanopyKanopy is a streaming video platform with a "Netflix-like" user experience and a broad, curated selection of documentaries, indie movies, classics, feature films and training videos. Films can be watched from anywhere, anytime by current students, faculty, and staff.
Streaming films in Kanopy require login with your MySVA credentials.