D'autres livres qui pourraient vous intéresser

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  The Shimmering Beast

  Steve Reinke

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  Steve Reinke is one of the most intriguing artists we've got; his scope is enormous, his imagination absolutely singular. His video art — The Hundred Videos, Anthology of American Folk Song, Anal Masturbation and Object Loss — practically define the genre.
   
  Reinke tells us, in 'Kitchener–Berlin,' his appreciation of Philip Hoffman's film of that title, that experimental video is centred around voice — a decidedly peculiar and literary notion. It makes good sense, then, that this experimental video artist is also an accomplished prose writer.
   
  Collected herein are Reinke's best recent prose pieces. Hybrids of criticism, fiction and personal essay, these pieces all engage — by pillaging, by honouring, by scrutinizing, by cannibalizing — an other's work: the films of Frank Cole, the videos of Emily Vey Duke and Cooper Battersby, the photos of Douglas Ischar, the writings of Dr. Paul Brouardel and the psycho­analysis of Melanie Klein, to name just a few.
   
  Funny, absurd and tartly poignant, these texts document the process and reach of an artistic mind at the height of its powers.

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  Myles Kennedy

  Steve Black

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  Alter Bridge vocalist and guitarist Myles Kennedy spoke with Steve Black in the winter of 2016.

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  Debra DiGiovanni: Single Awkward...

  Debra DiGiovanni

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  Debra DiGiovanni is one of the fastest rising international comedy stars. A finalist on Last Comic Standing, Debra was also voted Canada's Best Female Comedian at the Canadian Comedy Awards and has been selling out venues everywhere she performs. Now, Debra is back as a Single, Awkward, Female with her hilarious, unique views on dating, dieting, and love as only she can share.

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  Abbott and Costello: Lou Goes to...

  Bud Abbott, Lou Costello

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  Costello is at it again! He's ready to start gambling…but all he really does is lose.

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  Time of My Life The: Dirty Dancing

  Andrea Warner

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  An engaging exploration into the enduring popularity of Dirty Dancing and its lasting themes of feminism, activism, and reproductive rights 
   
  When Dirty Dancing was released in 1987, it had already been rejected by producers and distributors several times over, and expectations for the summer romance were low. But then the film, written by former dancer Eleanor Bergstein and starring Jennifer Grey and Patrick Swayze as a couple from two different worlds, exploded. Since then, Dirty Dancing’s popularity has never waned. The truth has always been that Dirty Dancing was never just a teen romance or a dance movie — it also explored abortion rights, class, and political activism, with a smattering of light crime-solving. 
   
  In The Time of My Life, celebrated music journalist Andrea Warner excavates the layers of Dirty Dancing, from its anachronistic, chart-topping soundtrack, to Baby and Johnny’s chemistry, to Bergstein’s political intentions, to the abortion subplot that is more relevant today than ever. The film’s remarkable longevity would never have been possible if it was just a throwaway summer fling story. It is precisely because of its themes — deeply feminist, sensitively written — that we, over 30 years later, are still holding our breath during that last, exhilarating lift.

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  Who Owns History? - Elgin's Loot...

  Geoffrey Robertson

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  The biggest question in the world of art and culture concerns the return of property taken without consent. Throughout history, conquerors or colonial masters have taken artefacts from subjugated peoples, who now want them returned from museums and private collections in Europe and the USA.
  The controversy rages on over the Elgin Marbles, and has been given immediacy by figures such as France's President Macron, who says he will order French museums to return hundreds of artworks acquired by force or fraud in Africa, and by British opposition leader Jeremy Corbyn, who has pledged that a Labour government would return the Elgin Marbles to Greece. Elsewhere, there is a debate in Belgium about whether the Africa Museum, newly opened with 120,000 items acquired mainly by armed forces in the Congo, should close.
  Although there is an international convention dated 1970 that deals with the restoration of artefacts stolen since that time, there is no agreement on the rules of law or ethics which should govern the fate of objects forcefully or lawlessly acquired in previous centuries.
  Who Owns History? delves into the crucial debate over the Elgin Marbles, but also offers a system for the return of cultural property based on human rights law principles that are being developed by the courts. It is not a legal text, but rather an examination of how the past can be experienced by everyone, as well as by the people of the country of origin.

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