Products related to Black-and-white:
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Black Cinema & Visual Culture : Art and Politics in the 21st Century
This culturally and politically timely collection examines new Black films and moving images that have, once again, excited and possibly shifted the global media landscape.At a moment some scholars have described as post-post-racial, Black Cinema & Visual Culture provides new, urgent definitions and theories for Black cinema and furthers the development of its critical discourses.Gathering some of the leading scholars and critics in the field, this book enriches and advances the study of Black film and media and its social and political implications at a breakthrough period of expansion in the 21st century.This anthology tackles a wide range of topics from social justice, new media, and Afrofuturism, to race, gender, sexuality, mass incarceration, cultural memory, and Afrosurrealism, exploring the current climate of Black cinematic art that has proven wildly popular with domestic and global audiences, including hit films like Get Out and Marvel’s Black Panther.Together, these essays deepen understandings of Black visual culture, its creative image-makers, the political economy of Hollywood, and the cultural politics at the intersection of modern cinema, streaming platforms, and digital technologies.Black Cinema & Visual Culture will serve as an important learning tool for university courses spanning topics in film studies, American film and television, cultural studies, American studies, African Diaspora studies, media activism, social analysis, and African-American studies.This volume will also provide a benchmark in popular and intellectual circles for anyone interested in popular culture, Black-American cinema, media, issues of race in Hollywood, or Black culture and the conditions that shape both its art and politics.
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History in Contemporary Art and Culture
This unique book offers guidance for contemporary art practices in dialogue with history, story, memory, and tradition. Artist and lecturer Paul O’Kane uses innovative and creative means, informed by a storytelling tradition as well as academic research, to make connections between contemporary art, history, and the past.The aim of this book is to give readers a sense of the profundity of historical questions, while making the challenge inviting, welcoming and manageable.It is designed to set out an expansive, inclusive and diverse range of potential directions, and speculations from which students can develop personal paths of enquiry.This is achieved by writing and designing the text in an accessible way and providing a range of ‘ways-in’.A series of carefully chosen references, examples, key texts, and possible essay questions are chosen and pitched at various levels and can be close-read, discussed, digested, and responded to either verbally or in the form of a presentation or essay. Written primarily for a broad range of fine arts students, this book encourages readers to reconsider their studies and art practices in light of a historical perspective, enhanced by creative contributions from artists, imaginative philosophers, and influential cultural commentators.
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Scenography and Art History : Performance Design and Visual Culture
Scenography and Art History reimagines scenography as a critical concept for art history, and is the first book to demonstrate the importance and usefulness of this concept for art historians and scholars in related fields.It provides a vital evaluation of the contemporary importance of scenography as a critical tool for art historians and scholars from related branches of study addressing phenomena such as witchy designs, Early Modern festival books, live rock performances, digital fashion photography, and outdoor dance interventions.With its nuanced and detailed case studies, this book is an innovative contribution to ongoing debates within art history and visual studies concerning multisensory events.It extends the existing literature by demonstrating the importance of a reimagined scenography concept for comprehending historical and contemporary art histories and visual cultures more broadly.The book contends that scenography is no longer restricted to the traditional space of the theatre, but has become an important concept for approaching art historical and contemporary objects and events.It explores scenography not solely as a critical approach and theoretical concept, but also as an important practice linked with unrecognized labour and broader political, social and gendered issues in a great variety of contexts, such as festive culture, sacred settings, fashion, film, or performing arts.Designed as a key resource for students, teachers and researchers in art history, visual studies, and related subjects, the book, through its cross-disciplinary frame, does consider, implicitly and explicitly, the roles of both scenography and art in society.
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Cultivating Extreme Art Cinema : Text, Paratext and Home Video Culture
Using paratextual theory to address the accusations of gimmickry often directed towards extreme art films, Cultivating Extreme Art Cinema: Text, Paratext, and Home Video Culture focuses upon the DVD and Blu-ray object, analysing how sleeve designs, blurbs, and special features shape the identity of the film and prepare the audience for a particular type of cinematic experience.The book discusses the complex interactions that take place on these commercial artefacts, the ways they communicate to both 'highbrow' and 'lowbrow' audiences, and the manner in which they breach tradition taste distinctions.Including case studies of features like Cannibal Holocaust, Funny Games and Antichrist, the book explores the complicated dichotomies between art and exploitation films to present a fluid history of extreme art cinema.
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Are memories black and white?
Memories are not black and white; they are complex and multidimensional. Memories can be influenced by emotions, perceptions, and personal biases, which can add layers of color and nuance to them. Additionally, memories can change over time as they are recalled and reconstructed, further blurring the lines between black and white. Overall, memories are a rich tapestry of experiences that are not easily categorized as simply black or white.
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Are black and white colors?
Black and white are not considered colors in the traditional sense. Black is the absence of color, while white is the presence of all colors combined. In terms of light, black is the absence of light and white is the presence of all colors of light. However, in the context of art and design, black and white are often referred to as colors for simplicity and practicality.
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Is Instagram black and white?
No, Instagram is not black and white. It is a social media platform that allows users to share photos and videos in full color. While users can apply black and white filters to their posts, the platform itself is designed to display content in color. Instagram offers a wide range of editing tools and filters to enhance and customize the appearance of photos and videos.
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Are cows black and white?
Cows can come in a variety of colors, including black and white. The Holstein breed, in particular, is known for its distinctive black and white markings. However, there are also cows of other colors, such as brown, red, or even solid black. So while many people may associate cows with being black and white, it's important to remember that they can come in a range of colors.
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Dark and Bright Mathematics : Hidden Harmony in Art, History and Culture
Was it necessary for a 17th century painter to know principles of optics to hide a skull in one of his masterpieces?Is it possible the violent deaths of Roman emperors obey a statistical law?Are there connections between market trends and geometry?How did Islamic artists draw almost perfectly regular nine-sided polygons, when these cannot be traced with the use of compasses?Dirk Huylebrouk asks these and other exciting questions in this collection of essays, originally written for the science magazine EOS, a Dutch equivalent of Scientific American, distributed in Belgium and in The Netherlands.Every chapter can be read independently, as some subjects are repeated, and not strictly interconnected.Such is the case for instance of the golden section, an often-recurring topic in general mathematics.The reader will appreciate the original point of view expressed through each chapter, which makes this book stand out against the general information one can find by browsing the generalmedia.The subtly provocative character of some parts is meant to stimulate the reader for further exploration.The book's title itself may already generate surprise.Sure, to many, mathematics seems to come from hell, but the darkness in the title in fact refers to the lugubrious stories about math and skulls, murders or World War II.There is also a more down-to-earth part about math and maps, money, Facebook, folding paper, shapes in ice and the most earthly yet unsolved math problems. ‘Bright mathematics’ alludes to Vedic, Islam, New Age, a meta-divine section, and is concluded by an interview with a top mathematician who also wrote about the existence of God.
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Black Caesars and Foxy Cleopatras : A History of Blaxploitation Cinema
A definitive account of Blaxploitation cinema—the freewheeling, often shameless, and wildly influential genre—from a distinctive voice in film history and criticism In 1971, two films grabbed the movie business, shook it up, and launched a genre that would help define the decade.Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song, an independently produced film about a male prostitute who beats up cops and gets away, and Gordon Parks’s Shaft, a studio-financed film with a killer soundtrack, were huge hits, making millions of dollars.Sweetback upended cultural expectations by having its Black rebel win in the end, and Shaft saved MGM from bankruptcy.Not for the last time did Hollywood discover that Black people went to movies too.The Blaxploitation era was born. Written by film critic Odie Henderson, Black Caesars and Foxy Cleopatras is a spirited history of a genre and the movies that he grew up watching, which he loves without irony (but with plenty of self-awareness and humor).Blaxploitation was a major trend, but it was never simple.The films mixed self-empowerment with exploitation, base stereotypes with essential representation that spoke to the lives and fantasies of Black viewers.The time is right for a reappraisal, understanding these films in the context of the time, and exploring their lasting influence.
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Culture and International History
Combining the perspectives of 18 international scholars from Europe and the United States with a critical discussion of the role of culture in international relations, this volume introduces recent trends in the study of Culture and International History.It systematically explores the cultural dimension of international history, mapping existing approaches and conceptual lenses for the study of cultural factors and thus hopes to sharpen the awareness for the cultural approach to international history among both American and non-American scholars. The first part provides a methodological introduction, explores the cultural underpinnings of foreign policy, and the role of culture in international affairs by reviewing the historiography and examining the meaning of the word culture in the context of foreign relations.In the second part, contributors analyze culture as a tool of foreign policy.They demonstrate how culture was instrumentalized for diplomatic goals and purposes in different historical periods and world regions.The essays in the third part expand the state-centered view and retrace informal cultural relations among nations and peoples.This exploration of non-state cultural interaction focuses on the role of science, art, religion, and tourism.The fourth part collects the findings and arguments of part one, two, and three to define a roadmap for further scholarly inquiry.A group of" commentators" survey the preceding essays, place them into a larger research context, and address the question "Where do we go from here?" The last and fifth part presents a selection of primary sources along with individual comments highlighting a new genre of resources scholars interested in culture and international relations can consult.
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Black, White, and in Color – Essays on American Literature and Culture
"Black, White and in Colour" offers a long-awaited collection of major essays by Hortense Spillers, one of the most influential and inspiring black critics of the past 20 years.Spanning her work from the early 1980s, in which she pioneered a broadly poststructuralist approach to African American literature, and extending through her turn to cultural studies in the 1990s, these essays display her passionate commitment to reading as a fundamentally political act - one pivotal to rewriting the humanist project.Spillers is probably best known for her race-centred revision of psychoanalytic theory and for her subtle account of the relationships between race and gender.She has also given literary criticism some of its most powerful readings of individual authors, represented here in seminal essays on Ralph Ellison, Gwendolyn Brooks, and William Faulkner.Other essays such as "Who Cuts the Border?" consider the effect of migration on the black cultural experience. "Moving on Down the Line" opens a fascinating window onto the African American sermon. "A Hateful Passion, a Lost Love" contrasts fiction by Toni Morrison, Zora Neale Hurtston and Margaret Walker. A new preface and introduction that appear here for the first time trace the trajectory of the author's career and point the way toward new lines of inquiry.Ultimately, the essays collected in "Black, White and in Colour" all share Spillers's signature style: heady, eclectic, and astonishingly productive of new ideas.Anyone interested in African American culture and literature should want to read them.
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Are white and black colors?
White and black are not considered colors in the traditional sense. White is the presence of all colors, while black is the absence of color. In terms of light, white is the combination of all colors, and black is the absence of light. However, in terms of pigments and dyes, white and black are often considered colors because they can be used to create different shades and tones.
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Can white Reebok Classic shoes be dyed black?
Yes, white Reebok Classic shoes can be dyed black. To dye the shoes, you will need to use a fabric dye specifically designed for synthetic materials like the ones used in Reebok shoes. Make sure to follow the dye manufacturer's instructions carefully to achieve the desired color. Keep in mind that the original white color may affect the final shade of black, so it's recommended to do a test patch first.
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Can you dye white Reebok Classic shoes black?
Yes, you can dye white Reebok Classic shoes black. To do this, you will need to use a fabric dye specifically designed for synthetic materials like the ones used in Reebok shoes. Follow the instructions on the dye packaging carefully to ensure the best results. Keep in mind that the original white color may affect the final shade of black, so it's recommended to do a test patch first.
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What are the differences between Pokémon Black and White and Pokémon Black 2 and White 2?
The main differences between Pokémon Black and White and Pokémon Black 2 and White 2 are the storyline, new features, and expanded gameplay. Pokémon Black 2 and White 2 are direct sequels to the original games, taking place two years after the events of the first games and featuring a new storyline and characters. Additionally, Pokémon Black 2 and White 2 introduce new areas to explore, new Pokémon to catch, and new features such as the Pokémon World Tournament and the Key System, which allows players to unlock new areas and events. Overall, Pokémon Black 2 and White 2 offer a more expansive and updated experience compared to the original games.
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