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Bob Thall has been photographing the skyline and streets of Chicago for over thirty years, and here in "At City's Edge" he chronicles the twenty-five mile shoreline where the asphalt meets the inland sea. Thall's stark yet rich images take viewers from the Evanston border on the North Shore down to 100th Street on the South Side, documenting the natural scenery,(...)
At city's edge : photographs of the Chicago lakefront
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Bob Thall has been photographing the skyline and streets of Chicago for over thirty years, and here in "At City's Edge" he chronicles the twenty-five mile shoreline where the asphalt meets the inland sea. Thall's stark yet rich images take viewers from the Evanston border on the North Shore down to 100th Street on the South Side, documenting the natural scenery, architectural structures, and people that populate the coastline. From the lakefront parks to summer beaches to the Air and Water Show, Chicago enfolds Lake Michigan into its urban character, but Thall's images make clear that the lake remains a dynamic and powerful force, with nature and civilization clashing at its rim. "At City's Edge" brings the lakefront to life in all its complexity, chronicling in its elegant visual sequence the sand-covered city beaches, the rock-studded shoreline, the running paths, and the buildings built along this unique intersection.
Monographies photo
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Film noir remains one of the most enduring legacies of 1940's and 1950's Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity, particularly the urban(...)
avril 2004, Cambridge, Mass.
Film noir and the spaces of modernity
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Film noir remains one of the most enduring legacies of 1940's and 1950's Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity, particularly the urban landscape. The originality of Dimendberg's approach lies in his examining these films in tandem with historical developments in architecture, city planning, and modern communications systems. He confirms that noir is not simply a reflection of modernity but a virtual continuation of the spaces of the metropolis. He convincingly shows that Hollywood's dark thrillers of the postwar decades were determined by the same forces that shaped the city itself. Exploring classic examples of film noir such as "The Asphalt Jungle", "Double Indemnity", "Kiss Me Deadly", and "The Naked City" alongside many lesser-known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper, Siegfried Kracauer, and Henri Lefebvre. A bold intervention in cultural studies and a major contribution to film history, Film Noir and the Spaces of Modernity will provoke debate by cinema scholars, urban historians, and students of modern culture - and will captivate admirers of a vital period in American cinema.
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Our culture has no concept of stopping. We continue to build motorways and airports for a future in which cars and planes may no longer exist. We’re converting our planet from a natural one to an artificial one in which the quantity of man-made objects – houses, asphalt, cars, plastic, computers and so on – now exceeds the totality of living matter. And while biomass(...)
The culture of stopping: obituary to myself
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Our culture has no concept of stopping. We continue to build motorways and airports for a future in which cars and planes may no longer exist. We’re converting our planet from a natural one to an artificial one in which the quantity of man-made objects – houses, asphalt, cars, plastic, computers and so on – now exceeds the totality of living matter. And while biomass continues to decline due to deforestation and species extinction, the mass of man-made objects is growing faster than ever. We’re on a treadmill to disaster. To get off this treadmill, argues Harald Welzer, we need to learn how to stop: as individuals and as societies, we need to stop doing what we’re doing and say ‘enough’. We find it hard to do this because our culture has trained us to regard endless escalation as desirable, and we’re reluctant to surrender the material benefits of growth. But as long as the expansive cultural model continues to prevail, there will be no change of course in favour of sustainable and climate-friendly practices and lifestyles. We need a cultural model in which the beauty of stopping is given the recognition needed for the project of civilization to continue. Optimizing processes that are heading in the wrong direction only makes matters worse.
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Sous l'asphalte des rues et les sols des maisons subsistent les vestiges d'une ville antique : Erétrie, sur l'île d'Eubée. Depuis bientôt cinquante ans, des archéologues suisses explorent le site pour tirer de l'oubli son histoire plurimillénaire. D'une idole préhistorique en marbre à un flacon de verre romain, plus de 400 oeuvres emblématiques évoquent la vie(...)
Histoire jusqu'à 1900, Grèce
novembre 2010
Cité sous terre: Des archéologies suisses explorent la cité grecque d'Érétrie
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Sous l'asphalte des rues et les sols des maisons subsistent les vestiges d'une ville antique : Erétrie, sur l'île d'Eubée. Depuis bientôt cinquante ans, des archéologues suisses explorent le site pour tirer de l'oubli son histoire plurimillénaire. D'une idole préhistorique en marbre à un flacon de verre romain, plus de 400 oeuvres emblématiques évoquent la vie quotidienne des Erétriens, leurs institutions et leurs croyances. Plongée dans le passé d'une cité qui fit la grandeur de la Grèce antique.
Histoire jusqu'à 1900, Grèce