Outros livros que poderiam interessá-lo

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  Xia Dynasty - The Myth and...

  Rolf Hedger

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  The Xia Dynasty is often considered the first dynasty of China, marking the transition from a prehistoric era dominated by tribal alliances to a structured monarchy. However, much of what is known about the Xia comes from ancient texts written centuries later, blurring the line between history and legend. At the heart of this foundation myth is Yu the Great, a figure credited with taming the catastrophic floods that once plagued the Yellow River region. 
  According to traditional accounts, China before the Xia was ruled by the Five Emperors, semi-mythical sages who brought order and knowledge to early societies. The final ruler of this period, Emperor Shun, recognized Yu for his brilliance and appointed him to control the devastating floods that had threatened agricultural settlements for generations. Unlike his predecessors, who attempted to block or divert the waters, Yu devised a system of dredging and canal-building that allowed the floodwaters to drain naturally into rivers and the sea. His efforts reportedly took over a decade, during which he traveled across the land, surveying the terrain and directing large-scale labor projects. His selfless dedication won him the admiration of the people, and his success in flood control cemented his reputation as a leader with the Mandate of Heaven. 
  The concept of the Mandate of Heaven, though later fully developed under the Zhou Dynasty, has its roots in the Xia period. It suggested that rulers were chosen by divine will and that their legitimacy depended on their ability to maintain order and prosperity. Yu's ability to tame the floods demonstrated both his virtue and his right to rule. Upon Emperor Shun’s abdication, Yu became the first king of the Xia Dynasty, establishing a hereditary monarchy that would continue for generations.

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  Under Pressure - A Song by David...

  Max Brzezinski

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  In 1981, David Bowie and Queen both happened to be in Switzerland: They met and made "Under Pressure." Recorded on a lark, the song broke the path for subsequent pop anthems. In Under Pressure, Max Brzezinski tells the classic track's story, charting the relationship between pop music, collective politics, and dominant institutions of state, corporations, and civil society. Brzezinski shows that, like all great pop anthems, "Under Pressure" harnesses collective sentiments in order to model new ways of thinking and acting. As we continue to live under the sign of the global oppressive power the song names, analyzes, and attempts to move beyond, we remain, in Bowie and Freddie Mercury's phrase, under pressure.

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  Shadows of Love Shadows of...

  William T. Vollmann

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  In this landmark collection, William T. Vollmann offers a kaleidoscopic retrospective of the visual artwork he has produced over four decades, with new commentary from Vollmann on his process, inspiration, and the many intersections with his writing. 
   
   
   
  The celebrated author of over twenty-five books (among them the National Book Award–winning novel Europe Central; the seven-volume Rising Up and Rising Down, based on Vollmann's career as a war correspondent; and the two-volume climate change investigation Carbon Ideologies), Vollmann's equally ambitious and prolific career as a photographer, printmaker, and painter reflects the artist’s deep interest in people existing on the margins, a profound empathy for his subjects, and the humility and generosity to meet them on their terms. 
   
   
   
  In Shadows of Love, Shadows of Loneliness, a series of essays  commissioned especially for this book lays out Vollmann's views on what photographs can and should say, how he chooses what to represent (beauty, suffering, compassion, love, desire, ideology), thoughts on photographic consensuality, and any number of technical descriptions. Particularly useful for Vollmann fans and scholars are the cross-references between these artistic and photographic projects and his books.

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  How Documentaries Went...

  Nora Stone

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  Since the 1960s, documentary films have moved closer to the mainstream, thanks to the popularity of rockumentaries, association with the independent film movement, support from public and cable television, and the rise of streaming video services. Documentary films have become reliable earners at the US box office and ubiquitous on streaming platforms, while historically they existed on the margins of mainstream media. 
   
   
   
  The growing commercialization of documentary film has not gone unnoticed, but it has not been sufficiently explained. Streaming and the growing interest in reality TV are usually offered as explanations whenever a documentary enters the cultural conversation or breaks a box-office record, but neither of those causes grapple with the overlapping causal mechanisms that commercialized documentary film. How Documentaries Went Mainstream provides a more comprehensive and meaningful periodization of the commercialization of documentary film. Although the commercial ascension of documentary films might seem meteoric, it is the culmination of decades-long efforts that have developed and fortified the audience for documentary features. Author Nora Stone refines rough explanations of these efforts through a robust history of the market for documentary films, using knowledge of film economics and the norms of industry discourse to tell a richer story.

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  A Classic Interview with Rock...

  John Lennon

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  John Winston Lennon (October 9, 1940 - December 8, 1980) was an English singer, songwriter and musician. He gained worldwide fame as the founder, co-lead vocalist and rhythm guitarist of the Beatles. His works included music, writing, drawings, and films. His songwriting partnership with Paul McCartney remains the most successful in history as the primary songwriters of the Beatles. The following recording is from a 1975 interview.

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  Smash Hit - Race Crime and...

  David Curcio

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  David Curcio’s SMASH HIT: RACE, CRIME, AND CULTURE IN BOXING FILMS joins Armin Lear Press’ titles exploring the way key social issues surface in the arts.      Cinema emerged alongside the rules that ushered in boxing’s modern age and the “squared circle” proved the ideal stage for cinematic display. The public had its first taste of the new medium in 1894 through a heavyweight bout, recognized today as the world’s first feature film.     As the two attractions fast-grew into the country’s most popular entertainments, nascent Hollywood studios were quick to spot an opening for a surefire combo. Like a snap-jab to the teeth, the boxing film emerged as a popular genre wherein the fighter assumed his place among the private dicks, rebel cops, and desperate underdogs mired in America’s expanding urban landscape.     Devoting equal time to both mediums, SMASH HIT: RACE, CRIME, AND CULTURE IN BOXING FILMS uses twenty films as the basis of a hard-nosed exploration as to how the genre held a bloody mirror to twentieth century America’s most prominent social anxieties, elucidating two conjoined mediums that serve as bellwether to an ever-shifting cultural zeitgeist.     “David Curcio’s Smash Hit is a first-round knockout filled with strong writing and deep insight.”-Bob Batchelor, author of Roadhouse Blues: Morrison, the Doors, and the Death Days of the Sixties and Stan Lee: A Life     "David Curcio's absorbing, fascinating book sent me down a rabbit hole of so many memorable movies....and Smash Hit belongs in the company of the best of them."-Donald McRae, The Guardian     "Smash Hit is not about the sport of boxing so much as a view of American society in the context of boxing culture, film history, and Hollywood gossip. An entertaining, informative, lively read.”-Glen Sharp, author of Punching in the Shadows

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