The 71st Venice International Film Festival, organized by La Biennale di Venezia, opens today and runs through September 6th 2014, on the island of the Lido, Venice, Italy. Twenty films will be competing for the Golden Lion prize, and several dozen more will wrestle for the attention of critics and audiences.
The Venice Film Festival or Venice International Film Festival (Italian: Mostra Internazionale d’Arte Cinematografica della Biennale di Venezia, “International Exhibition of Cinematographic Art of the Venice Biennale”) is the oldest international film festival in the world. Founded by Count Giuseppe Volpi in 1932 as the “Esposizione Internazionale d’Arte Cinematografica”, the festival has since taken place every year in late August or early September on the island
Why did you write this book? What were your original aims?
The motivations for undertaking this research are complicated and now date from some time ago. Having written a study of the director Louis Malle (2004), I wanted to continue to develop my knowledge of French cinema, while still connecting to my other interests in national historiography and the collective memory of the Vichy period. However, I did not want to work on a conventional book about either ‘great French films of recent times’ or indeed something that just rehashed familiar debates already presented in titles such as Henry Rousso’s The Vichy Syndrome.
We are delighted to present a selection of our newly published, and soon to be published, August titles from our core subjects of Anthropology, Environmental Studies, Film Studies, History and Politics, along with a selection of our New in Paperback titles.
BLOOD AND FIRE
Toward a Global Anthropology of Labor
Edited by Sharryn Kasmir and August Carbonella
A look into the life of post-Soviet Ukrainian women, Mapping Difference: The Many Faces of Women in Contemporary Ukraine is now available in paperback. This book uncovers the virtues of women that sometimes lie just beneath negative gender stereotypes. Following, editor of the collection, Marian Rubchak, gives readers a deeper look into the volume via the book’s cover.
Since the demise of the Soviet “Empire of Nations”[i] in 1991 Ukraine’s women have lived in a world largely shaped by the rejection of communist values and efforts to transform a moribund socialist system into an open democratic society. Early in the transformative period this society gave rise to a small core of female activists who chose to work within the existing system, with its traditional values, to effect the changes that would return their voice to women. Although they disavowed the label of feminist as a self-descriptor their agendas clearly reflected feminist principles.
The Berlin Wall was a barrier constructed by the German Democratic Republic (GDR, East Germany) starting on 13 August 1961, that completely cut off (by land) West Berlin from surrounding East Germany and from East Berlin. The Eastern Bloc claimed that the wall was erected to protect its population from fascist elements conspiring to prevent the “will of the people” in building a socialist state in East Germany. In practice, the Wall served to prevent the massive emigration and defection that marked East Germany and the communist Eastern Bloc during the post-World War II period. The Berlin Wall came to symbolize the “Iron Curtain” that separated Western Europe and the Eastern Bloc during the Cold War.
What drew you to the study of the female star in classic cinema? And what inspired you to research and write on this topic?
One of the remarkable things about golden-age stars is that you meet them virtually everywhere these days: Turner Classic Movies, DVD box-sets, biographies, bio-pics – not to mention their digitally animated counterparts in commercials. On a very immediate level that we all – not just researchers – experience, old Hollywood has new life.
World Breastfeeding Week (WBW) is an annual celebration which is held yearly from 1st to 7th of August in more than 120 countries.
Being organized by WABA, WHO and UNICEF, the goal is to promote exclusive breastfeeding for the first six months of life which yields tremendous health benefits, providing critical nutrients, protection from deadly diseases such as pneumonia and fostering growth. To learn more please visit www.worldbreastfeedingweek.org
Berghahn is delighted to present some of its relevant titles:
Understanding the complex and multifaceted issue of human reproduction has been, and remains, of great interest both to academics and practitioners. This series includes studies by specialists in the field of social, cultural, medical, and biological anthropology, medical demography, psychology, and development studies.
Born on July 30, 1863, Henry Ford was an American industrialist, the founder of the Ford Motor Company, and sponsor of the development of the assembly line technique of mass production. Although Ford did not invent the automobile or the assembly line, he developed and manufactured the models of automobiles that converted its use from an expensive curiosity into a practical transport that middle class Americans could afford. His global vision resulted in many technical and business innovations which greatly impacted the context of the twentieth century.
“Coming together is a beginning; keeping together is progress; working together is success.” – Henry Ford
Renowned Dutch anthropologist Willem Assies’ lifework was a study of Latin American politics. Up to his unexpected death in 2010, Assies had made strides in bringing awareness to the situations of the downtrodden, those considered “voiceless.” In Dignity for the Voiceless: Willem Assies’s Anthropological Work in Context, editors Ton Salman, Salvador Marti i Puig, and Gemma van der Haar have given the political anthropologist his own voice once again. Following, the editors provide further insight into their recently published volume.
In 2010, Willem Assies, an astute and prolific Latin Americanist and political anthropologist, died unexpectedly, at the age of 55. The book launched today brings together some of his finest writing. Assies would always gave central stage to the collective and multi-layered actor and not the system — but he would constantly do so within the context of restrictions, pressures, conditioning factors and contradictions, to provide the actor with a real setting of operation.