Tourists climb the Eiffel Tower to see Paris. Parisians know that to really see the city you must descend into the metro. In this revelatory book, Marc Auge takes readers below Paris in a work that is both an ethnography of the city and a personal narrative. Guiding us through history, memory, and physical space, Auge juxtaposes the romance of the metro with the reality of multiethnic urban France. His work is part autobiography, with impressions from a lifetime riding the trains; part meditation on self and memory reflected in the people and places underneath Paris; part analysis of a place...
Tourists climb the Eiffel Tower to see Paris. Parisians know that to really see the city you must descend into the metro. In this revelatory book, Mar...
Marc Auge was eleven or twelve years old when he first saw Casablanca. Made in 1942 but not released in France until 1947, the film had a profound effect on him. Like cinephiles everywhere, Auge was instantly drawn to Rick Blaine's mysterious past, his friendship with Sam and Captain Renault, and Ilsa's stirring, seductive beauty. The film-with its recurring scenes of waiting, menace, and flight-occupies a significant place in Auge's own memory of his uprooted childhood and the wartime exploits of his family.
Marc Auge's elegant and thoughtful essay on film and the nature of...
Marc Auge was eleven or twelve years old when he first saw Casablanca. Made in 1942 but not released in France until 1947, the film had a pr...
Ever slip your hand into the pocket of a coat unworn for a trinity of seasons and find there objects left over from what seems to be a lifetime ago? A paper clip, an old piece of chewing gum, a few tattered pieces of paper, notes with something then urgent, but now with escaped significance? Ever watch a three-year-old play in a sandbox, creating castles with imaginary inhabitants limited only by his or her creativity? Ever have a private place where you spent some of your adolescence experimenting with ideas, relationships, and objects which, at the time, were viewed askance by a...
Ever slip your hand into the pocket of a coat unworn for a trinity of seasons and find there objects left over from what seems to be a lifetime ag...
Cartography and cinema are what might be called locational machinery. Maps and movies tell their viewers where they are situated, what they are doing, and, to a strong degree, who they are. In this groundbreaking work, eminent scholar Tom Conley establishes the ideological power of maps in classic, contemporary, and avant-garde cinema to shape the imaginary and mediated relations we hold with the world. Cartographic Cinema examines the affinities of maps and movies through comparative theory and close analysis of films from the silent era to the French New Wave to Hollywood blockbusters. In...
Cartography and cinema are what might be called locational machinery. Maps and movies tell their viewers where they are situated, what they are doing,...
Australia was born vulnerable. From its beginnings as a precarious convict settlement on the 'other side of the world', through the development of self-governing colonies, to Federation and beyond, recognising and dealing with vulnerability led Australians to embrace an insular attitude to the outside world, which in turn translated into state control over the economy and highly protectionist policies. So how did Australia transform from a protected, insular country to an outwardly focused, globalised one? And why, in the current economic climate, should Australia resist a return to its...
Australia was born vulnerable. From its beginnings as a precarious convict settlement on the 'other side of the world', through the development of sel...
At a time when traditional film theory privileged the purely visual, Film Hieroglyphs introduced a new way of watching film--examining the ways in which writing bears on cinema. Author Tom Conley gives special consideration to the points (ruptures) at which story, image, and writing appear to be at odds with one another.Conley hypothesizes that major directors--Renoir, Lang, Walsh, Rossellini--tend unconsciously to meld history and ideology. Graphic elements are seen as simultaneously foreign and integral to the field of the image. From these contradictions hieroglyphs emerge that mark a...
At a time when traditional film theory privileged the purely visual, Film Hieroglyphs introduced a new way of watching film--examining the ways in whi...
An Errant Eye studies how topography, the art of describing local space and place, developed literary and visual form in early modern France. Arguing for a "new poetics of space" ranging throughout French Renaissance poetry, prose, and cartography, Tom Conley performs dazzling readings of maps, woodcuts, and poems to plot a topographical shift in the late Renaissance in which space, subjectivity, and politics fall into crisis. He charts the paradox of a period whose demarcation of national space through cartography is rendered unstable by an ambient world of printed writing. This...
An Errant Eye studies how topography, the art of describing local space and place, developed literary and visual form in early modern France. A...
The Self-Made Map argues that during the Renaissance in France a "new cartographic impulse" affected both the "graphic and imaginary forms of literature." In this wide-ranging and fascinating work, Tom Conley demonstrates that as new maps were plotted during this period, a new sense of self emerged, one defined in part by the relationship of the self to space. Conley traces the explosion of interest in mapmaking that occurred with the discovery of the New World, and discusses the commensurate rise of what he defines as cartographic writing-writing that "holds, penetrates,...
The Self-Made Map argues that during the Renaissance in France a "new cartographic impulse" affected both the "graphic and imaginary forms of l...
Marc Auge was eleven or twelve years old when he first saw Casablanca. Made in 1942 but not released in France until 1947, the film had a profound effect on him. Like cinephiles everywhere, Auge was instantly drawn to Rick Blaine's mysterious past, his friendship with Sam and Captain Renault, and Ilsa's stirring, seductive beauty. The film-with its recurring scenes of waiting, menace, and flight-occupies a significant place in Auge's own memory of his uprooted childhood and the wartime exploits of his family.
Marc Auge's elegant and thoughtful essay on film and the nature of...
Marc Auge was eleven or twelve years old when he first saw Casablanca. Made in 1942 but not released in France until 1947, the film had a pr...
