• Part I. First wave: New York in the 1960s
• Part II. Second wave: Europe after 1968
• Part III. Third wave: The twenty-first century and the digital era

This book argues for a durational cinema that is distinct from slow cinema, and outlines the history of its three main waves: the New York avant-garde of the 1960s, the European art cinema in the years after 1968, and the international cinema of gallery spaces as well as film festivals since the 1990s. Figures studied include Andy Warhol, Ken Jacobs, Chantal Akerman, Marguerite Duras, Claude Lanzmann, James Benning, Kevin Jerome Everson, Lav Diaz, and Wang Bing.Durational cinema is predominantly minimal, but has from the beginning also included a more encompassing or encyclopedic kind of filmmaking. Durational cinema is characteristically representational, and converges on certain topics (the Holocaust, deindustrialization, the experience of the working class and other marginalized people), but has no one meaning, signifying differently at different moments and in different hands. Warhol's durational cinema of subtraction is quite different from Jacobs's durational cinema of social disgust, while Lav Diaz' durational sublime is quite different from Kevin Jerome Everson's unblinking studies of African-American working people.
(source: Nielsen Book Data)

• Acknowledgements
• 1. Introduction - The semiotics of the view - Eco-critical practices - The indivisibility of the human subject and nature - The text - The parameters - Author's note
• 2. The Terms of Engagement - Landscape, space and place - Inside and outside - The ethnographic eye and documentary: Negotiations of the real - The contested status of the real - Taking a step back - crossing over
• 3. The Invention of Landscape - Landscape, the antithesis of city life - The sublime, the spiritual and the indifference of nature - The picturesque and the pastoral - The return of the picturesque and the romantic sublime
• 4. The Social Construction of Landscape - National identity, society and history - Framing trauma in the landscape - Property, ownership, colonialism and class identity
• 5. Landscape Subjectivities - Do you see what I see? - The perceiving subject - A template for seeing, touching, hearing and feeling - Emotion, affect and sensation in nature
• 6. Painted Landscapes - The tools of the trade - Taking the eye for a walk - perspectives in painting - The great outdoors
• 7. Frames and Sequences - Photographing the view - Slide-tape: Landscape in series
• 8. Talking Pictures: Narrative, Time, Colour and Sound - 'Nature caught in the act' - Narrative film: Background and foreground - The time base - Colour and black-and-white - Sound and silence
• 9. Talking Pictures: Framing the View and the Spectator - Framing the view - Point of view: The restless eye - The spectator
• 10. Artists' Moving Image - 'Unmade Narratives': Experimental film - Video: The travelling companion - Digital media: No man's land - Photogenie and the entanglement of matter
• 11. Weather-Blown Film - River Yar (1971-72), William Raban and Chris Welsby - Theory: Clouds and clocks - Wind Vane (1972), Chris Welsby - Feedback: Cybernetics
• 12. Being-With: Rocks, Sea and Sky - La Region Centrale (1971), Michael Snow - Aspect (2004), Emily Richardson - Sea-changed film: R.V. Ramani and David Gatten - This Is My Land (2006), Ben Rivers - Dawn Burn (1975-76), Mary Lucier - Interwoven Motion (2004), Chris Meigh-Andrews - The wide blue yonder: Semiconductor, Susan Collins, James Turrell and James Benning
• 13. Getting the Shivers: Empathic Projection and the Elements - Jack Lauder and Lloyd Branson, Zacharias Kunuk, Oscar Munoz, Bill Viola, Joan Jonas and William Raban
• 14. Anti-Terrain: Australasia and the 'Vexed' Question of Landscape - Preconceptions - The antipodean gaze - Refiguring landscapes - Imagining a future
• 15. Landscape and Identity Politics - Signatures - Slavery and the African Diaspora: The Black body in the landscape - Mother Earth - Queering the landscape - Fault lines - masculinity
• 16. Performing the Landscape - Acting out in Merrie England - Performing matter - Shifting the scenery
• 17. Animals - A pantomime of animals - Captive animals: A transaction of the gaze - 'Companion animals' - Cruelty to animals - Discreet courtship
• 18. Postscript
• References Index.
• (source: Nielsen Book Data)

Elwes takes a journey through the twin histories of landscape art and experimental moving image and discovers how they coalesce in the work of artists from the 1970s to the present day. Drawing on a wide geographical sampling, Elwes considers issues that have preoccupied film and video artists over the years, ranging from ecology, gender, race, performativity, conflict, colonialism and our relationship to the nonhuman creatures with whom we share our world. The book is informed by the belief that artists can provide an embodied, emotional response to landscape, which is an essential driver in the urgent task of combating the environmental crisis we now face. The book comprises a series of essays that explore how the moving image mediates our relationship to and understanding of landscapes. The focus is on artists' film and video and draws on work from the 1970s to the present day. Early chapters map the theoretical terrain for both landscape and artists' moving image creating a foundation for the chapters that follow devoted to practice. These address themes of identity politics, performativity and animals and examine examples of British 'weather-blown films' and work from around the world including Indigenous Australian film landscapes. The book offers an informed, personal view of the subject and threaded through the narrative is a concern with the environment and the vexed question of whether an appreciation of nature's aesthetics undermines a commitment to ecology. The book is written in a clear, engaging style and is enlivened by Elwes's own experiences as a video artist, writer and curator, and the primary material she draws on derived from conversations with fellow practitioners across the years. As a practitioner, Elwes was a key figure in the early phases of video art in the UK as well as a curator and critic. She was professor of moving image art at the University of the Arts London; and is founding editor of the Moving Image Review & Art Journal (MIRAJ) This book will appeal to students, undergraduate and post-graduate, Ph.D. candidates, researchers, practitioners, teachers and lecturers and a general readership of interested gallery-going public.
(source: Nielsen Book Data)

• Foreword / Alan Govenar
• Back to the blanket: Wendy Red Star in conversation with Josh T. Franco
• Our side: Wendy Red Star's material conceptualism / Julia Bryan-Wilson
• Fifty shades of buckskin: satire as a decolonizing tool / Tiffany Midge
• Setting the stage: self-portraits and the politics of looking / Jordan Amirkhani
• The Indian congress: reconfiguring the indigenous archive / Annika K. Johnson
• Mosquitos: a line through grief: poems / by Layli Long Soldier

Delegation is the first comprehensive monograph by Apsaalooke/Crow artist Wendy Red Star, whose photography recasts historical narratives with wit, candor, and a feminist, Indigenous perspective. Red Star centers Native American life and material culture through imaginative self-portraiture, vivid collages, archival interventions, and site-specific installations. Whether referencing nineteenth-century Crow leaders or 1980s pulp fiction, museum collections or family pictures, she constantly questions the role of the photographer in shaping Indigenous representation. Including a dynamic array of Red Star's lens-based works from 2006 to the present, and a range of essays, stories, and poems, Delegation is a spirited testament to an influential artist's singular vision. Copublished by Aperture and Documentary Arts.
(source: Nielsen Book Data)

• Acknowledgements Foreword by Alberto Barbera INTRODUCTION
• 1. The relevance of Wang Bing's filmmaking
• 2. Themes, form and narrative structure: A linked approach to Wang Bing's filmmaking
• 3. Wang Bing a la Wong Kar-wai
• 4. Genesis and book's structure
• 1. WANG BING'S CINEMATIC JOURNEY: A COUNTER-NARRATIVE OF THE CHINA DREAM
• 1. The centrality of space in Wang Bing's narrativized reality
• 2. Chinese marginal spaces and uneven development
• 3. Wang's counter-journey of the China Dream
• 4. Spaces in Wang Bing's oeuvre: an overview of the films and issues at stake
• 2. HISTORY IN THE MAKING: THE DEBUT EPIC TIEXI QU: WEST OF THE TRACKS
• 1. The debut epic Tiexi qu: West of the Tracks and its context
• 2. West of the Tracks as a contemporary cinematic reportage
• 3. Filming 'history in the making' and the legacy of the Lumiere films
• 4. Towards an epic of labour: from Terrence Malick's Days of Heaven to West of the Tracks
• 3. SPACES OF LABOUR: THREE SISTERS, 'TIL MADNESS DO US PART, BITTER MONEY
• 1. Filming spaces of labour and cinema as labour
• 2. The transition from the industrial space of Tiexi to rural and marginal spaces
• 3. Three Sisters: an epic of survival reminiscent of John Ford's The Grapes of Wrath
• 4. Duration in Wang Bing's cinema: the case of Three Sisters and Alone
• 5. No Way Out: from Three Sisters to 'Til Madness Do Us Part
• 6. 'Til Madness Do Us Part: the camera work between 'madness' and 'love'
• 7. Reaching the new centres of labour: Bitter Money
• 8. Bitter Money: earning money in hardship
• 4. SPACES OF HISTORY AND MEMORY: THE WORKS ON THE ANTI-RIGHTIST CAMPAIGN PART I - A space too much: The Ditch
• 1. The genesis of The Ditch (2004-09)
• 2. The Ditch: carving out a space for documenting the past
• 3. Historical spectacles: Wang Bing's The Ditch and Pier Paolo Pasolini's Salo (1975)
• 4. Ghosts of the past: Wang Bing's The Ditch and Brutality Factory and Pedro Costa's Colossal Youth PART II - Spaces of Memories: Dead Souls
• 1. From Fengming: A Chinese Memoir to Dead Souls
• 2. The genesis of Dead Souls
• 3. Spaces for survival: archiving audiovisual witnesses
• 4. The act of filming and spaces of death
• 5. Wang Bing's Dead Souls and Claude Lanzmann's Shoah (1985)
• 5. COLLECTIVE SPACES - INDIVIDUAL NARRATIVES: MAN WITH NO NAME, FANG XIUYING, GAO ERTAI - BEAUTY LIVES IN FREEDOM
• 1. Man With No Name: individual spaces of self-isolation
• 2. Fathers and Sons: individual spaces and deteriorating family structures
• 3. Mrs Fang: individual spaces of death
• 4. Mi Niang and Ta'ang: spaces of escape and refuge
• 5. Gao Ertai - Beauty Lives in Freedom: individual spaces of exile
• 6. CONCLUDING REMARKS: EXHIBITION SPACES AND SPACES OF HUMAN PRACTICE Filmography Bibliograhy Index.
• (source: Nielsen Book Data)

This volume offers an organic discussion of Wang Bing's filmmaking across China's marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang Bing's cinema gives voice to the subaltern. Focusing on contemporary China, his work testifies to a set of issues dealing with inequality, labour, and migration. His internationally awarded documentaries are considered masterpieces with unique aesthetics that bear reference to global film masters. Therefore, this investigation goes beyond the divides between Western and non-Western film traditions and between fiction and documentary cinema. Each chapter takes a different articulation of space (spaces of labour, history, and memory) as its entry point, bringing together film and documentary studies, Chinese studies, and globalization studies. This volume benefits from the author's extensive conversations with Wang Bing and insider observations of film production and the film festival circuit.
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• Foreword / Lauren Cornell
• Pulling through: on Sky Hopinka's Perfidia / Julie Niemi
• Perfidia / Sky Hopinka

"Sky Hopinka's PERFIDIA moves within the textured landscape of memory, both personal and collective, to address the founding colonial violence of the United States and its lasting impact. In a series of cantos, the book-length poem surfaces a first-person narrative amidst the stream of history and its accounting through the voices of ancestors and kin. Shifting registers between the embodied and the spiritual, PERFIDIA's subjective syntax destabilizes entrenched colonial perspectives and concomitant descriptions of land, sky, sea, myth, place, and personhood. PERFIDIA sits at the center of Hopinka's most recent body of filmic work, which draws from the poem's sixteen cantos and its previous iterations. These filmic works include the short film Lore (2019), the 2-channel video installation Cloudless Blue Egress of Summer (2019), the feature-length film maɬni (2020), and the photo series The Land Describes Itself (2019)."--Small Press Distribution description

Terence Stamp stars as the mysterious stranger, perhaps an angel, perhaps a devil, who, one by one, seduces the members of a wealthy Milanese family, precipitating an existential crisis in each of their lives. Unfolding nearly wordlessly in a procession of sacred and profane images, this tantalizing metaphysical riddle, blocked from an exhibition by the Catholic Church for degeneracy, is at once a blistering Marxist treatise on sex, religion, and art and a primal scream into the void

• Foreword by Tim Ingold. Introduction.
• 1. Recovering the Substantive Nature of Landscape
• 2. Landscape, Place and the State of Progress
• 3. Choros, Place and the Spatialization of Landscape
• 4. Are Islanders Insular? A Personal View
• 5. The Case of the "Missing" Mask: Performance, Theatre, AEtherial Space and the Practice of Landscape/Architecture
• 6. Performing on the Landscape versus Doing Landscape: Perambulatory Practice, Sight and the Senses of Belonging
• 7. Heidegger, Latour and the Reification of Things: the Inversion and Spatial Enclosure of the Substantive Landscape - The Lake District Case
• 8. Transcendent Space, Reactionary-Modernism and the "Diabolic" Sublime: Walter Christaller, Edgar Kant, and the Landscape Origins of Modern Spatial Science and Planning
• 9. Geese, Elves, and the Duplicitous, "Diabolical" Landscaped Space and Wild Nature of Reactionary Modernism: Holgersson, Hagerstrand, and Lorenz.
• (source: Nielsen Book Data)

Compiling nine authoritative essays spanning an extensive academic career, author Kenneth R. Olwig presents explorations in landscape geography and architecture from an environmental humanities perspective. With influences from art, literature, theatre staging, architecture, and garden design, landscape has come to be viewed as a form of spatial scenery, but this reading captures only a narrow representation of landscape meaning today. This book positions landscape as a concept shaped through the centuries, evolving from place to place to provide nuanced interpretations of landscape meaning. The essays are woven together to gather an international approach to understanding the past and present importance of landscape as place and polity, as designed space, as nature, and as an influential factor in the shaping of ideas in a just social and physical environment. Aimed at students, scholars, and researchers in landscape and beyond, this illustrated volume traces the idea of landscape from the ancient polis and theatre through to the present day.
(source: Nielsen Book Data)

• Introduction Mick Atha, Peter Howard, Ian Thompson and Emma Waterton Fitting into Country. Deborah Bird Rose Part I: EXPERIENCING LANDSCAPE Part II: LANDSCAPE, CULTURE AND HERITAGE Part III: LANDSCAPE, SOCIETY AND JUSTICE Part IV: DESIGN AND PLANNING FOR LANDSCAPE.
• (source: Nielsen Book Data)

This new edition of The Routledge Companion to Landscape Studies contains an updated and expanded selection of original chapters which explore research directions in an array of disciplines sharing a concern for 'landscape', a term which has many uses and meanings. It features 33 revised and/or updated chapters and 14 entirely new chapters on topics such as the Anthropocene, Indigenous landscapes, challenging landscape Eurocentrisms, photography and green infrastructure planning. The volume is divided into four parts: Experiencing landscape; Landscape, heritage and culture; Landscape, society and justice; and Design and planning for landscape. Collectively, the book provides a critical review of the various fields related to the study of landscapes, including the future development of conceptual and theoretical approaches, as well as current empirical knowledge and understanding. It encourages dialogue across disciplinary barriers and between academics and practitioners, and reflects upon the implications of research findings for local, national and international policy in relation to landscape. The Companion provides a comprehensive and up-to-date guide to current thinking about landscapes, and serves as an invaluable point of reference for scholars, researchers and graduate students alike.
(source: Nielsen Book Data)

• A / a Friedrich Engels, Danièle Huillet, Jean-Marie Straub, Willy Lubtchansky, Caroline Champetier, Louis Hochet, Manfred Blank, Radovan Tadic, Vincent Nordon, Leo Mingrone, Isaline Panchaud
• B / Mahmud Hussein, Jean-Marie Straub, Danièle Huillet, Bahgat el Nadi, Gérard Samaan, Louise Hochet, Manfred Blank, Robert Alazraki, Marguerite Perlado, Mustafa Darwish, Magda Wassef, Gaber Abdel-Ghani, Bahgat Mostafa.

Inspired by a letter written by Friedrich Engels and a 1974 account of two militant Marxist writers who had been imprisoned by the Nasser regime, Straub-Huillet filmed this film in France and Egypt during the anxious months of 1980 that followed the Camp David Accords and culminated in Anwar Sadat's assassination the following year. The filmmakers reflect on Egypt's history of peasant struggle and liberation from Western colonization, and link it to class tensions in France shortly before the Revolution of 1789, quoting texts by Friedrich Engels as well as the pioneering nonfiction film Workers Leaving the Lumière Factory.

For more than forty years, the experimental filmmaker James Benning has been engaged in a systematic investigation of the relations between man, landscape, and the filmic medium, and during the last decade it has become increasingly clear how much these investigations have to offer to contemporary debates about ecology, the age of the anthropocene and the potentialities of new digital technologies. In James Benning's Environments a range of international scholars highlight the thematic and formal coherence of Benning's practice, whilst providing readers with an artistic and historical context to understand his experimental film work. The volume offers a number of interpretative frameworks drawing on film theory, environmental humanities, visual culture and philosophy, explaining why Benning has emerged as one of today's essential filmmakers.
(source: Nielsen Book Data)

• Foreword:
• Murray Fraser
• Introduction:
• Ed Wall and Tim Waterman
• Chapter 1: Landscapes of Post-History
• Ross Adams
• Chapter 2: Reciprocal Landscapes: Material Portraits in New York City and Elsewhere
• Jane Hutton
• Chapter 3: Agency, Advocacy, Vocabulary: Three Landscape Projects
• Jane Wolff
• Chapter 4: The Law is at Fault? Landscape Rights and 'Agency' in International Law
• Amy Strecker
• Chapter 5: How to Live in a Jungle: the (Bio)politics of the Park as Urban Model
• Maria Giudici
• Chapter 6: Planetary Aesthetics
• Peg Rawes
• Chapter 7: The Closed Landscapes of Sverdlovsk-44 and Krasnoyarsk-26
• Katya Larina
• Chapter 8: Rhythm, Agency, Scoring and the City
• Paul Cureton
• Chapter 9: Publicity and Propriety: Democracy and Manners in Britain's Public Landscape
• Tim Waterman
• Chapter 10: The Power of the Incremental: Agronomic Investment in Lisbon's Chelas Valley
• Jill Desimini
• Chapter 11: Post-Landscape or the Potential of Other Relations with the Land
• Ed Wall
• Chapter 12: Activating Equitable Landscapes and Critical Design Assemblages in Bangkok
• Camillo Boano and William Hunter
• Chapter 13: Agency and Artifice in the Environment of Neoliberalism
• Doug Spencer
• Afterword: Landscape's Agency
• Don Mitchell.
• (source: Nielsen Book Data)

Landscape and Agency explores how landscape, as an idea, a visual medium and a design practice, is organized, appropriated and framed in the transformation of places, from the local to the global. It highlights how the development of the idea of agency in landscape theory and practice can fundamentally change our engagement with future landscapes. Including a wide range of international contributions, each illustrated chapter investigates the many ways in which the relationship between the ideas and practices of landscape, and social and subjective formations and material processes, are invested with agency. They critically examine the role of landscape in processes of contemporary urban development, environmental debate and political agendas and explore how these relations can be analysed and rethought through a dialogue between theory and practice.
(source: Nielsen Book Data)

• Introduction Deadpan: Stranger Than Paradise, Deadman and The Second Circle Stillness: Elephant and Mother and Son Long Shot: Distant and Climates Wait Time: The Death of Mr. Lazarescu, 4 Months, 3 Weeks and 2 Days and Safe Drift and Resistance: Liverpool and Ossos Death-Drive, Life-Drive: A Talking Picture, Taste of Cherry, Five Dedicated to Ozu and Still Life Rebellion's Limits: The Turin Horse, Werckmeister Harmonies and 12:08 East of Bucharest Notes Index.
• (source: Nielsen Book Data)

"In all film there is the desire to capture the motion of life, to refuse immobility, " Agnes Varda has noted. But to capture the reality of human experience, cinema must fasten on stillness and inaction as much as motion. Slow Movies investigates movies by acclaimed international directors who in the past three decades have challenged mainstream cinema's reliance on motion and action. More than other realist art cinema, slow movies by Lisandro Alonso, Nuri Bilge Ceylan, Pedro Costa, Jia Zhang-ke, Abbas Kiarostami, Cristian Mungiu, Alexander Sokurov, Bela Tarr, Gus Van Sant and others radically adhere to space-times in which emotion is repressed along with motion; editing and dialogue yield to stasis and contemplation; action surrenders to emptiness if not death.
(source: Nielsen Book Data)

A searing introduction to Franco Fortini, a Jewish communist and a major figure in postwar Italian intellectual life, The Dogs of the Sinai is a book against those who love to rush to the aid of the victors, against the widespread and racist contempt for Arabs, and against the celebration of modern civilization and technology that Israel embodies. It is also the book in which Fortini sought to clarify for himself his conflicted identity as an Italian Jew. An uncomfortably timely book, The Dogs of the Sinai combines polemic and autobiography with narrative and criticism in a terse and finely wrought reflection on politics, identity, and truthfulness in the period after the Six Day War of 1967. Fortini describes with rich personal detail the Nazi occupation of Italy and the rise of the Israeli-Palestinian conflict, meditating on the birth of fascism and the increasing anti-Arabic influence in Europe. As topical today as it was forty-five years ago, this meditation against power is published alongside Fortini/Cani, a film by Jean-Marie Straub and Daniele Huillet, drawn from Fortini's essay. The film includes moving scenes of the author reading excerpts from his book against quiet landscapes. The Dogs of the Sinai is a powerful text from one of the most important intellectuals of the Italian New Left.
(source: Nielsen Book Data)

• Preface
• Introduction: Journeys into the Zone of Cinema
• Ecology, Morphology, Semiosis: A Process-Relational Account of Cinema
• Territory: The Geomorphology of the Visible
• Encounter: First Contact, Utopia, & the Becoming of Another
• Anima Moralia: Journeys Across Frontiers
• Terra & Trauma: The Geopolitics of the Real
• Afterword: Digital Futures in a Biosemiotic World
• Appendix: Doing Process-Relational Media Analysis
• Notes
• Index.
• (source: Nielsen Book Data)

Moving images take us on mental and emotional journeys, over the course of which we and our worlds undergo change. This is the premise of this book, which accounts for the ways cinematic moving images move viewers in ways that reshape our understanding of ourselves, of life, and of the Earth and universe. This book presents an ecophilosophy of the cinema: an account of the moving image in relation to its lived ecologies -- the material, social, and perceptual relations within which movies are produced, consumed, and incorporated into cultural life. Cinema, Adrian Ivakhiv argues, lures us into its worlds, but those worlds are grounded in a material and communicative Earth that supports them, even if that supporting materiality withdraws from visibility. Ivakhiv examines the geographies, visualities, and anthropologies -- relations of here and there, seer and seen, us and them, human and inhuman -- found across a range of styles and genres, from ethnographic and wildlife documentaries, westerns and road movies, sci-fi blockbusters, and eco-disaster films to the experimental and art films of Tarkovsky, Herzog, Greenaway, Malick, Dash, and Brakhage, to YouTubes expanding audio-visual universe. Through its process-relational account of cinema, drawn from philosophers including Whitehead, Peirce, and Deleuze, the book boldly enriches our understanding of film and visual media.
(source: Nielsen Book Data)

• Introduction: Defining Landscape Allegory Landscape Portrayal Before Cinema Spiritualized Landscapes of the Nineteenth Century The Advent of Filming Allegorical Landscape Avant-Garde Film Depiction of Landscape in the 1960s Spiritual Wasteland Films of the 1960s and 70s Australian Outback Allegories of Cultural Exploitation Hollywood's Imperialist Allegories Imperialist River/Jungle Allegories and Beyond Conclusion.
• (source: Nielsen Book Data)

A cultural and historical exploration of Italian and Italian American discrimination.
(source: Nielsen Book Data)

While blood quantum laws have been used to determine an individual's inclusion in a Native group, Eiteljorg fellowship artists have instead come to view themselves as belonging to the 'Art Tribe', through the universal process of art creation and collaboration. "Art Quantum" presents a selection of the extraordinary work created by the five artists selected for the 2009 Eiteljorg Fellowship. In his essay on the long career of Edward Poitras (Gordon First Nation), Alfred Young Man (Cree) places Poitras' installations in the context of Metis and Indian identity as well as the White art establishment in Canada. Gail Tremblay (Onondaga/Micmac) illuminates the work of Jim Denomie (Ojibwa), reading his narrative paintings and intimately scaled portraits through their complex and humorous references to history, art history, and current events. Jimmie Durham (Cherokee) uses the analogy of music to explore the language of abstraction in sculptural and two-dimensional works by Jeffrey Gibson (Mississippi Band of Choctaw/Cherokee), while the subtle and often monochromatic sculptural installations of Faye HeavyShield (Kainai-Blood) are sensitively interpreted by Lee-Ann Martin (Mohawk). The volume closes with Polly Nordstrand's (Hopi/Norwegian) reflection on the themes of longing/not belonging and placement/displacement that Wendy Red Star (Crow) documents in her photographs and appliqued dance shawls. It is the goal of the Eiteljorg Fellowship to be a starting point and a platform for exploration of Native identity and artistic expression beyond the concepts of blood quantum laws. Essays by James Nottage, Jennifer Complo McNutt, Ashley Holland (Cherokee), and Paul Chaat Smith (Comanche) help to situate the larger issue of Native identity in the contemporary art world.
(source: Nielsen Book Data)

"Acclaimed Iranian filmmaker Abbas Kiarostami (A taste of cherry, Through the olive trees) pays homage to Yasujiro Ozu, the brilliant Japanese filmmaker whose spare but evocative style has been a major influence on Kiarostami's work. Canny and sublime, the 74-minute film is comprised of five long, apparently single takes of a beach on the Caspian Sea, all focusing on the ocean, comprised of virtually no camera movement and enveloped in rapturous natural sound. Richly poetic and shot on a hand-held DV camera, the film features five extended, apparently single-take sequences. 1. The camera accompanies a piece of wood with which the waves are toying at the beach. 2. People are walking along by the seaside. Older people stop, look at the waves, then walk away. 3. Indistinct shapes on a beach in winter. A group of dogs. A love story. 4. Ducks noisily cross the frame in one direction, then the other. 5. A pond; nighttime; frogs; a chorus of sounds, then a storm, and finally dawn"--Container.

• Foreword : Departments of the Interior / W. Richard West, Jr.
• Introduction : on the map / John Haworth
• The imaginary landscape / Kathleen Ash-Milby
• Places of emergence : painting genesis / Kate Morris
• After the Gold Rush / Paul Chaat Smith
• Artists biographies
• Endnotes
• For further reading
• Exhibition checklist
• About the authors.

• Artists biographies: James Lavadour
• Emmi Whitehorse
• Carlos Jacanamijoy
• Jeffrey Gibson
• Erica Lord.