Tuesday, April 30, 2013

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Life among the Ruins: Cityscape and Sexuality in Cold War Berlin (Genders and Sexualities in History), by J. Evans

As home to 1920s excess and Hitler's Final Solution, Berlin's physical and symbolic landscape was an important staging ground for the highs and lows of modernity. In Cold War Berlin, social and political boundaries were porous, and the rubble gave refuge to a re-emerging gay and lesbian scene, youth gangs, prostitutes, hoods, and hustlers.

  • Sales Rank: #3772145 in Books
  • Published on: 2011-12-15
  • Released on: 2011-12-20
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .75" w x 6.00" l, 1.30 pounds
  • Binding: Hardcover
  • 317 pages

Review

"Evans's analysis of the available visual material proves to be innovative and illuminating." - Malte Zierenberg, Humboldt University Berlin, Germany

"Greatly aided by her eloquent storytelling, the book reaches out across disciplines and appeals not only to historians of postwar Germany but also to geographers as well as scholars of film, literature, and gender studies." - Yuliya Komska, Dartmouth College, United States

About the Author
JENNIFER V. EVANS is Associate Professor of History at Carleton University in Ottawa, Canada. She teaches a variety of courses in 20th century German history, while her primary area of research is the history of sexuality. She has written about the regulation of same-sex sexuality in Cold War Germany, pink triangle victims during and after the Holocaust, and queer erotic photography as a form of self-narration.

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3 of 10 people found the following review helpful.
Postwar Berlin as sociological curiosity
By Eric Dietrich-Berryman
Life Among the Ruins is an earnest attempt to survey and illuminate a hideously deformed world that lay in rubble. I have a direct personal interest in the subject and, sadly, the effort here is only a marginally successful treatise of Berlin and its population in 1945 and following. The problem is basically form over feeling. Jennifer Evans has no personal experience of those dark times, nor is one necessary. It is entirely necessary, however, to trade clinical detachment for something approaching a modicum of human understanding. In this she fails. For instance, John Keegan's The Face of Battle and John Barber's account of the siege of Leningrad are compelling histories founded on painstaking research blended with deep human insight. Evans depends on contemporary sociological jargon, supercilious observers, poorly understood archival sources in translation and shallow generalizations.

What is one to do with "purile fetishization," sexualization of the space," "desires of the ruins," "affective register," "commodity fetishism," or "existing social cavities" among the litany of cant with which this book is cobbled together? When Evans writes "burgomeister" (sic) it is obvious that she does not read or speak German. Her grasp of military history begs correction. There was no "armistice" in 1945. Germany surrendered unconditionally. Capitulation without quarter. No less questionable is the pronouncement that "The year 1945 did not herald a radical break from what came before, but 1961 did." The year 1945 broke with the past in Germany (as well as Japan) in the most definitive way imaginable. By comparison, the Communist sealing of East Germany in 1961 is a geo-political footnote.

Here's my experience as a boy among Berlin's ruins: we starved. We were evacuated to places other than Bavaria. In my case it was a children's home in Upper Silesia. At the finale my mother and I walked from the Harz back to Berlin, a journey of about 100 miles. It took us three months. We were always cold. We begged anything the Occupation soldiery would toss our way, especially cigarettes. Merciless competition came from limbless urchins, stumps wrapped in rags, who propelled their little wheeled carts at break-leg speed whenever we pounced on something a soldier had flung our way. We never badgered Russians. The French kicked. Brits had almost as little as we did. We looked for bits of wood and coal.

There were not a quarter million prostitutes trawling for customers. Women in Berlin gave themselves not because of a breakdown of morality but to get something to eat for themselves and their children and their aged parents, and to trap just a moment of warmth and comfort in an icy world. The winter of 1945-1946 was particularly harsh, as was the next winter. In this context, prostitution begs for a much more elastic, softer definition.

I smoked my first cigarette at age six. Most of everything I could cadge from the uniformed lords was brought home. Smoked cigarettes were stripped of their tobacco, re-rolled and traded for food. Hook an American and your mother became the envy of the neighborhood. Mine found a Royal Air Force cook. Jackpot! Night clubs like Resi and Die Badewanne became oases in a grim world, not the sex traps claimed. Some day there may be a comprehensive work that examines with care and sensitivity the Berlin of the Götterdämmerung postwar era. This is not that book.

Eric Dietrich-Berryman

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Tuesday, April 23, 2013

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Failure is Not an Option - Mission Control from Mercury to Apollo 13 and Beyond, by Gene Kranz

  • Sales Rank: #3375395 in Books
  • Published on: 2000
  • Binding: Paperback

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Monday, April 22, 2013

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  • Sales Rank: #4692972 in Books
  • Brand: Brand: Pws Pub Co
  • Published on: 1994-06
  • Original language: English
  • Dimensions: 9.50" h x 7.75" w x 1.00" l,
  • Binding: Hardcover
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Thursday, April 18, 2013

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  • Published on: 2008-06-19
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Great Books of the Western World Volume 3 Homer, by Encyclopedia Britannica

  • Sales Rank: #3289948 in Books
  • Published on: 1990
  • Binding: Hardcover

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Tuesday, April 2, 2013

[X921.Ebook] PDF Download Vivaldi's Music for Flute and Recorder, by Federico Maria Sardelli, Michael Talbot

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Vivaldi's Music for Flute and Recorder, by Federico Maria Sardelli, Michael Talbot

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Vivaldi's Music for Flute and Recorder, by Federico Maria Sardelli, Michael Talbot

Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.

  • Sales Rank: #3660241 in Books
  • Published on: 2016-02-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 6.50" w x 1.00" l, 1.56 pounds
  • Binding: Hardcover
  • 376 pages

Review
'Federico Maria Sardelli's comprehensive study of this sector of Vivaldi's oeuvre, first published in Italian in 2001, brings its riches to the English-speaking world through a thoughtful translation by Michael Talbot. The repertory itself is a miscellany of sonatas and concertos plus an array of obbligato parts in operas and church music, but Sardelli holds that it plays a central role in the development of wind music in late Baroque Europe. Bringing his own insights as a performer to individual works, he deduces that Vivaldi played many of the instruments for which he scored. He discusses subtleties of nomenclature and scoring, offers extensive detail of the musical sources, surveys issues of performance in several locales, and deduces from the available evidence the types and sizes of instruments intended for each of the works. The whole book is generously provided with illustrations and musical examples. In Sardelli's own phrase, it emphasizes "data, documents, and commentary." The text has been updated to accommodate recent discoveries.' Eleanor Selfridge-Field, Stanford University, USA '...this is a major contribution to Vivaldi studies...Highly recommended.' Choice '...the reader is fortunate in that so fine a book has been translated by so distinguished a scholar, a fact that itself lends it authority... The author knows the sources, he knows the music, and knows what needs to be written... if only such books existed on other distinct repertoires - and not just Vivaldi. There is such a wealth of information and understanding that I can make this a very short review, and just recommend it to all who play the music [...] and those who write about it.' Early Music Review 'Vivaldi scholar Michael Talbot has done a noble service to the English-speaking world in making this 2001 work (published in Italian) accessible... If you want to know about Vivaldi's works for flute, this is the book!' Kansas City Flute Association Newsletter '... a comprehensive study of the composer's repertoire for flute and recorders of varying sizes... there is no doubt that Sardelli's book is a comprehensive starting point for those interested in delving into the Vivaldian repertoire and the historical and performance issues relating to it. Ashgate are to be applauded for publishing such a well-translated study that significantly adds to the research material available to English-speaking scholars and students.' The Consort

About the Author
Federico Maria Sardelli - conductor, musicologist and flautist - is a member of the Istituto Italiano Antonio Vivaldi, Venice. Michael Talbot is Emeritus Professor of Music at the University of Liverpool, UK.

Most helpful customer reviews

1 of 1 people found the following review helpful.
A better conclusion would be that recorder is a possible original ...
By R. Folk
An amazingly thorough review of Vivaldi's flute and recorder music. The discussion of the cantatas is a valuable addition given the primordial state of research in this area. I do have a few complaints --

1. The controversy concerning the "flautino" concertos has about as much credence as the "controversy" about evolutionary theory. We have known for decades that these were for sopranino recorder in F and later transposed for soprano recorder in C. Let's move on!

2. Sardelli argues against the existence of recorder antecedents for the famous published flute concertos, opus 10. Scrutiny reveals his arguments to be amazingly weak. The upshot is that no parts marked "flauto" (recorder) come down to us -- yet at the end of the recorder chapter we are treated to a discussion of upwards of fifteen (!) lost recorder concertos and only two surviving examples with ripieno strings (and a few more chamber concertos). Presenting a lack of manuscripts as negative evidence presumes that Vivaldi's recorder manuscripts have survived immaculately, which is clearly not the case. It remains problematic that La Notte and Tempesta di Mare are far easier to play on recorder and obey its range perfectly. It would be strange to simultaneously call on difficult high notes for the flute and avoid its lower range (making prolific use, however, of F, the lowest note of the treble recorder), when we all know that the low range is a particular strength of the conical-bore one-key flute in D. Many of these concertos are in flat keys; while we know that transverse flutes were occasionally called on in these keys, it is strange to use them so frequently. A better conclusion would be that recorder is a possible original instrumentation, but no direct documentary evidence comes down to us.

3. The tone in several places is querulous, and in my opinion, quite beneath academic writing. The discussion of "flautini" is a good place to start.

0 of 0 people found the following review helpful.
Il y a assurément à boire et à manger dans ce livre...
By Mr. Jean Cassignol
Un premier exemple: le chapitre sur les extraordinaires concerti pour petite flûte ou flautino RV 443, 444 et 445 traite de manière polémique du cas du RV 312, commencé par Vivaldi pour petite flûte dans ses mouvements I et II, mais vraiment terminé de manière idiomatique (pour le violon) en son mouvement III, ce qui donne actuellement deux concertos reconnus: le RV 312 pour violon et le RV 312R (R comme reconstruit), tous deux enregistrés respectivement par Duilio M. Galfetti au violon et Dorothee Oberlinger à la flûte à bec sopranino en fa. Mais la date de publication de l'ouvrage de Sardelli (2007, mais terminé en 2005) explique que son auteur ne pouvait pas connaître la thèse d'Olivier Fourés sur le violon vivaldien, soutenue à Lyon en 2007. Autre exemple: le concerto RV 430 (275a), rageusement écarté par Sardelli comme pseudo-concerto pour flûte (page 141) mais sereinement enregistré par le grand flûtiste Alexis Kossenko en 2009 sur flûte traversière en buis d'après Christoph Denner (ca. 1725)...

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Monday, April 1, 2013

[K924.Ebook] Ebook Download Special Effects: The History and Technique, by Richard Rickitt

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Special Effects: The History and Technique, by Richard Rickitt



Special Effects: The History and Technique, by Richard Rickitt

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Special Effects: The History and Technique, by Richard Rickitt

Illustrating that the history of special effects is a long and varied one—and much more than images of sleek starfighters or CG raptors—this fascinating account documents the incredible advances made in creating realistic special effects for film over the decades. From the barely concealed wires on Douglas Fairbanks’ flying carpet in The Thief of Baghdad, to groundbreaking effects for the Lord of the Rings trilogy, this incisive guide showcases how the industry has been manufacturing new and cutting edge ways to fuel viewers’ imaginations. Beautifully designed with a pictorial history of the special effects industry, with in-depth analyses of the varied techniques of audio and visual effects, and packed with more than 500 color illustrations taken from iconic movies and personal portfolios of the experts in the field, this remarkable manual is an essential resource for fans of filmmaking, and anyone looking to build a career in this fast-paced and revolutionary industry.

  • Sales Rank: #1866291 in Books
  • Published on: 2006-10-24
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.57" h x 1.26" w x 9.45" l, 5.28 pounds
  • Binding: Hardcover
  • 384 pages

From Booklist
Rickett tells the story of that perennial box-office draw, special effects, from "trick photography" through today's astonishing, computer-assisted cinematic legerdemain. Individual chapters examine components of the special effects artist's toolkit. Optical illusions, models, and animation are each dissected and appreciated, and ditto makeup and sound effects. The chapter headed "Physical Effects" gives simple instructions for creating the illusion of a snowstorm; "fake snow is infinitely preferable to the real thing," Rickett says. Okay, so most of the tricks described aren't fit for home application, but then why should they be? This is a measured account of an integral part of what makes today's movies, as always, bigger than big and huger than huge. Fascinating stuff for gadget freaks, sf geeks, plain old film fans, and picture-book peepers. Mike Tribby
Copyright © American Library Association. All rights reserved

Review
'Richard Rickitt captures the essence of what inspires effects technicians to push the boundaries of creative film-making into the future.' -- Richard Taylor - Design and Effects Supervisor, Weta Workshop, winner of 5 Academy Awards for Lord o 'This splendid volume is a tribute to the great effects pioneers whose innovations continue to inspire new generations of artists.' -- Ray Harryhausen

About the Author
Richard Rickitt is an author, a filmmaker, and teaches filmmaking and film history at the British Film Institute.

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0 of 0 people found the following review helpful.
Masterpiece
By Paulo M. F. Andrade
This book is so perfect in what it proposes to be that I feel sorry to not have bought it before. It gives you a wonderfull view of the history of Special Effects and have deep information, that I never found in other books on how they did in the past and how they do today.

I am desesperately waiting for a new version of the book and I hope they do a bigger book now. There are more good information that I would like to see in this book.

I believe the cover doesn't help because it shows a pinacle of visual effects, but what make this book shines is the Special Effects part.

I also would love to have this book in a digital format so I could see the pictures in bigger sizes. I can imagine how wonderfull would be if a digital version of the book, with links to the films and sniplets of scenes.

Anyway, even today, in 2013, this book is a must buy for everyone that loves cinema and respect is as the ultimate art.

0 of 0 people found the following review helpful.
Exceptional book for those who are brand new to the field
By Steven Pascoe
I bought this book during my freshman year of college for an Intro class, and I still have it today. Not a bad book at all for someone who's very interested in learning historical techniques behind visual/special effects. Some of the sections go into great detail on the most popular effects techniques, and I learned a lot from this book.

0 of 0 people found the following review helpful.
Fantastic book!
By Kevin
So I bought this as I was teaching myself vfx. After having worked at Weta for 5 years, I can say this is a pretty cool book! It's getting old, but has great info and behind the scenes stuff. I'll be hanging onto it for a long time! Great quality and lots of pictures :)

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