Ingmar Bergman's 1963 film The Silence was made at a point in his career when his stature as one of the great art-film directors allowed him to push beyond the boundaries of what was acceptable to censorship boards in Sweden and the United States. The film's depiction of sexuality was, as Judith Crist wrote at the time in the New York Herald-Tribune, "not for the prudish." Yet Bergman's notebooks and screenplays reveal his tendency for self-censorship, both to dampen the literary quality of his screenwriting and to alter portions of the script that Bergman ultimately deemed too provocative.Maaret Koskinen, a professor of cinema studies and film critic for Sweden's largest national daily newspaper, was the first scholar given access to Bergman's private papers during the last years of his life. Bergman's notebooks reveal the difficulties he experienced in writing for the medium of moving images and his meditations on the relationship (or its lack) between moving images and the spoken or written word. Koskinen's attention to this intermedial framework is anchored in a close reading of the film, focusing on the many-faceted relationships between images and dialogue, music, sound, and silence.The Silence offers filmgoers an entryway into the cinematic, cultural, and sociopolitical issues of its time, but remains a classic - rich enough for scrutiny from a variety of perspectives and methodologies. Koskinen draws a picture of Bergman that challenges the traditional view of him as an auteur, revealing his attempts to overcome his own image as a creator of serious art films by making his work relevant to a new generation of filmgoers. Her exploration of the film touches on issues of censorship and the cinema of small nations, while shedding new light on the shifting views of Bergman and auteurist film, high art, and popular culture.
Textiles explores the cultural meaning and exquisite workmanship found in the Museum of International Folk Art’s vast collection that spans centuries and includes pieces from seventy countries around the world. Handcrafted work in beautiful, vivid colors typifies the clothing, hats, robes, bedding, and shoes that represent the lives and passions of the people who created and used them.
“Opens up possibilities for dozens of skills, from printing to origami, from soap-making to patchwork; tie-dying, weaving, embroidery, and more.” —Foreword Reviews
In 2009, tastemaker and bestselling author Lena Corwin turned the top floor of her Brooklyn brownstone into a studio and began hosting classes for local crafters. In Lena Corwin’s Made by Hand, she recreates and builds upon her popular workshop series in order to reach crafters in Brooklyn and beyond. For this “best of” collection, she has chosen expert teachers and her favorite projects: Jenny Gordy introduces us to knitted socks and elegantly sewn tops and dresses; Cal Patch teaches how to make a modern embroidery sampler as well as a braided rag rug; and Corwin herself presents her favorite screen-printing and stamping techniques. There are many lessons/projects, all presented with step-by-step photos and illustrations. Notice: For usability reasons, the digital edition of this book does not include all of the images found in the physical edition.
“Made by Hand introduces readers to ageless crafting techniques with modern projects.” —HGTV.com
“Like a private studio class . . . this book is a breath of fresh air.” —Examiner.com
“A must-have for anyone who wants to create unique décor.” —Decorating Shortcuts
“The 385 detailed illustrations, along with excellent step-by-step photographs and clear instructions, make each project tempting and approachable.” —Studios magazine
“Those messy hands alone are inspiring me to get creative.” —Modern Eve
“I got a sneak peek at a mostly lovely book. I can’t contain my excitement over this book. The projects are varied and so much fun.” —The Stylish Nest
Textile Landscapes demonstrates how to develop your approach to textile art with a focus on using found objects and paint and stitch on cloth and paper.
Cas explains how to exploit the contrast between the hands-on textural quality of working with fabrics and threads and the spontaneity and movement of brush marks to lend a painterly quality to your work.
She begins with the basics – keeping a sketchbook to generate ideas, painting and stitching on cloth and on paper and working digitally; Inspiring Landscapes looks at natural and urban space, the changing seasons and great landscapes as well as intimate spaces and travel diaries; Painting and Marking with Cloth explains the practical aspects of painting and dyeing cloth and how to make connections between paint, print, dye, stencil and stitch; Stitch-scapes looks at the different forms of landscape, experimenting with photographs and prints and how to translate those images using ink, stitch, abstract and collage techniques and then at how to transform the image using digital techniques; On Closer Inspection covers using elements and details from landscape and the environment as found objects and for research; finally People and Place explores the relationship we have with the outdoors and the built environment, as well as personal interpretations of place.
The book includes artworks by the author that explore the UK, USA, Europe and Australia, as well as works by other internationally renowned textile artists. A creative guide ideal for textile artists of all levels – students, teachers and practising artists and makers – to make unique and beautiful work inspired by the world around us.
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