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The Films of Margaret Tait: Portraits, Poetry, Sound and Place


Sarah Neely

Margaret Tait – filmmaker, photographer, poet, painter, essayist and short story writer – is one of the UK’s most unique and remarkable filmmakers. She was the first female filmmaker to create a feature-length film in Scotland (Blue Black Permanent, 1992). Although for most of her career Tait remained focused on the goal of making a feature-length film, her most notable and groundbreaking work was arguably as a producer of short films. The originality of her work, and its refusal to accept perceived barriers of genre, media and form, continues to inspire new generations of filmmakers.

This book aims to address the lack of sustained attention given to Tait’s large body of work, offering a contextualisation of Tait’s films within a general consideration of Scottish cinema and artists’ moving image. Furthermore, the book’s grounding in detailed archival research offers new insights into Scotland (and Britain) in the twentieth century, relating to a diverse range of subjects and key figures, such as John Grierson, Forsyth Hardy, Hugh MacDiarmid, Lindsay Anderson and Michael Powell.

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MIMOS 2011

Christoph Marthaler

Joel Aguet, Martina Albertini, Anne Fournier, Andreas Härter, Sylvie Jeanneret and Christoph Kuhn

Der international renommierte Theaterregisseur Christoph Marthaler erhält von der Schweizerischen Gesellschaft für Theaterkultur den Hans-Reinhart-Ring 2011.

Metteur en scène au rayonnement international, Christoph Marthaler a reçu l’Anneau Hans-Reinhart 2011 décerné par la Société suisse du théâtre.

Regista di fama internazionale, Christoph Marthaler è stato insignito dell’Anello Hans Reinhart 2011 dalla Società svizzera di studi teatrali.

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Mapping Cinematic Norths

International Interpretations in Film and Television


Julia Dobson and Jonathan Rayner

Mapping Cinematic Norths presents an international range of research and enquiry into the significance, representation and manipulation of depictions of the ‘North’ in cinema and television. Northern landscapes, soundscapes, characters and narratives are defined and recognized as distinctive image-spaces within film and television. However, the ‘North’ is portrayed, exploited and interpreted in divergent ways by filmmakers and film audiences worldwide, and this volume sheds new light on these varying perspectives.

Bringing together the work of established and emerging academics as well as practising filmmakers, this collection offers new critical insights into the coalescence of North-ness on screen, exploring examples from Britain, Scandinavia, continental Europe, Australia and the United States. With contextual consideration and close readings, these essays investigate concepts of the North on film from generic, national, aesthetic, theoretical, institutional and archival perspectives, charting and challenging the representations and preconceptions of the idea of North-ness across cultural and cinematic heritages.

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Das Melodramatische als Vertonungsstrategie

Robert Schumanns Balladen op. 106 und op. 122


Esther Dubke

Wie der Erstdruck vermerkt, vertonte Robert Schumann im Jahr 1849 die Ballade „Schön Hedwig" op. 106 „für Declamation mit Begleitung des Pianoforte". Unter derselben Besetzungsangabe wurden drei Jahre später die „Ballade von Haideknaben" und „Die Flüchtlinge" op. 122 publiziert. Die Autorin untersucht die zeitgenössischen positiven Äußerungen zu Schumanns Werken, die in einem Umfeld der grundsätzlichen Ablehnung des Melodrams markant hervortreten. Sie zeigt, wie vor allem die Konzertmelodramen tiefgreifende Einblicke in seine Musik- und Gattungsästhetik ermöglichen: Mit dem Melodramatischen als Vertonungsstrategie betrat der Komponist – trotz einer über siebzigjährigen Gattungstradition – musikalisch neues Terrain.

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Showcase Britain

Britain at the Vienna World Exhibition 1873


Christina Baird

Showcase Britain explores the diverse aspects of British participation in the Vienna World Exhibition (Weltausstellung) of 1873. The exhibition covered a vast spectrum of human endeavour and achievement. The British involvement encompassed not only the national submission but also the British individuals who visited and contributed to the displays.

The book offers a snapshot of British aspirations and commerce at a singular point in history through the lens of the exhibition. The central theme is explored through various perspectives: the ceramic collections, the Fine Art collections, British connections with China, the act of collecting, the visitor experience, and the mobility and re-use of collections, with particular reference to the display from India. The British submission is compared and contrasted throughout with that of the government of Japan, a newcomer to international shows, whose collections presented a competitor to Britain’s and a focus for British acquisition and emulation. Finally, the exhibition is viewed in the wider context of international exhibitions held in London in the following decade.

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Die Noblesse im Bild

Die adeligen Porträtgalerien in der Frühen Neuzeit in den Ländern der ehemaligen Habsburgermonarchie

Ingrid Halászová

Zu den aufwendigsten und aus diesem Grund wenig bearbeiteten Themen gehört die Problematik der Entstehung und der Anfangsphasen der Entwicklung von adeligen Porträtgalerien in den ehemaligen Ländern der Habsburgermonarchie in Mitteleuropa.

Die vorliegende Publikation ist das gemeinsame Werk eines internationalen Autorenkollektivs. Die einzelnen Kapitel bieten einen aktuellen und möglichst kompletten Stand der Erkenntnisse über die Entstehung und Entwicklung der Porträtgalerien in Tschechien und Mähren: die Neuhaus-Sammlung und die Rosenberger-Sammlung (B. Kubíková), die Lobkowitz-Sammlung (P. Štěpánek) und die Porträtgalerie der Familie Dietrichstein (P. Medříková).

Bezüglich des ehemaligen Königreichs Ungarn wird ein allgemeiner Überblick über die Entwicklung des adeligen Porträts im 17. Jahrhundert am Beispiel von Malern und Auftraggebern präsentiert (E. Buzási).

In den einzelnen Fallstudien werden zwei Porträtsammlungen analysiert: die Bibersburger Porträtgalerie der Familie Pálffy (I. Halászová) und die Esterházy-Sammlung auf Burg Forchtenstein (M. Kopp). Die österreichische Seite der Donau repräsentiert die Galerie des Adelsgeschlechts Lamberg auf Schloss Ottenstein (F. Polleroß).

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Emma Hamilton

The «Western» embodies many of the stereotypes of masculinity: rugged, independent men in cowboy hats roam the barren landscapes of the American West, resolving conflicts with guns and tough talk. Where did these cowboys come from? What historical trends led to their emergence on screen?

This book explores the relationship between the Western, film and historical representation and the ways in which masculine gender performance is itself historical. It posits a new interpretation of how history functions on film, termed hyper-linear history. Hyper-linear history creates the possibility of seeing film as a vehicle that makes the past immediately explicit and relevant, rendering historical understandings complex.

The study offers a fresh exploration of American Western films made in the 1950s and 1960s, arguing that many Westerns of this period rely on the post-Civil War on-screen past to make sense of the tumultuous experiences of the period, to various effect. The films especially tap into the ways in which national economic, political, technological and social changes impact the performance of hegemonic masculinities. These films provide insight into the ways in which masculinities are performed and gender crises are expressed, explored and resolved.

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Christian Janssens

Cet ouvrage porte sur le cas concret de Maurice Maeterlinck comme auteur adapté à l’époque du cinéma muet. Inspiré de la théorie de Pierre Bourdieu, il propose de renouveler la problématique de l’adaptation cinématographique en prenant pour point de départ l’auteur agissant dans plusieurs champs et étant agi par ceux-ci.

Dans les années dix et vingt, Maeterlinck occupe des positions contrastées : consacré en littérature, peu ou pas reconnu au cinéma. Cet écart suscite un triple questionnement, sur l’entrée de l’auteur dans le champ cinématographique, sur les stratégies qu’il transpose d’un domaine à l’autre, enfin sur l’ajustement des stratégies aux états successifs du cinéma. Centré sur le contexte de production des œuvres, l’ouvrage ne néglige pas leur dimension esthétique. Il met en évidence des sources premières rarement sollicitées : les films Monna Vanna (Ambrosio, 1914–1916), Pelléas et Mélisande (Éclair, 1915) et The Blue Bird (Paramount, 1918). L’analyse esthétique révèle la manière dont le cinéma reprend des éléments théâtraux et se les réapproprie, ou encore dans quelle mesure les œuvres adaptées oscillent entre les différents pôles de production et se stabilisent dans la zone de grande production de qualité.

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Johnny Reinhard

Bach and Tuning is strictly concerned with the identification of a historically accurate tuning paradigm that applies to the great majority of Johann Sebastian Bach’s music. Once Bach has his personal tuning aesthetic acknowledged, a new dimension of meaning is invoked in performance through the intended interplay of diverse musical intervals. This new narrative lays bare Bach’s mental calculations regarding his idealized intonation. Bach, the true chromatic composer of the Baroque, was the scion of a great music family. Likewise, Andreas Werckmeister was the bright star in a neighboring musical family, only a generation earlier. Bach and Tuning connects the valuable tuning contribution made by Werckmeister to Bach’s musical masterpieces.

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A River Rather Than a Road

The Community Choir as Spiritual Experience


Sarah Morgan and June Boyce-Tillman

This book is an auto-ethnographic account of the development of a charismatic community choir leader. It brings together management literature and a survey of the community choir scene with the development of community choir leadership. It provides a useful introduction to the sustaining of community choirs, including the use of English folksong
material in this context. Some useful arrangements of folk songs are included. Community singing events are described with helpful advice on setting up and managing these. It presents a useful model of the range of skills necessary for aspiring community choir leaders. This is linked with the formation of a community that contains spiritual elements; this is theorized in relation to the role of the parish church in communal singing. It also discusses the two aesthetics of choral singing and the relationship between oral and literate traditions. The book arises from the engagement of the University of Winchester in partnership with the local community, which is theorized.