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Territoriality, Ideology and Creative Identity in Literature and Film
Volume Editors: Brigitte le Juez and Bill Richardson
Spaces of Longing and Belonging offers the reader theoretical and interpretative studies of spatiality centered on a variety of literary and cultural contexts. It brings new and complementary insights to bear on creative uses of spatiality in artistic texts and generally into the field of spatiality as a cultural phenomenon, especially, although not exclusively, in terms of literary space. Ranging over questions of aesthetics, politics, sociohistorical concerns, issues of postcoloniality, transculturality, ecology and features of interpersonal spaces, among others, the essays provide a considerable collection of innovative pieces of scholarship on important questions relating to literary spatiality generally, as well as detailed analyses of particular works and authors. The volume includes ground-breaking theoretical investigations of crucial dimensions of spatiality in a context of increased global awareness.
Volume Editors: Alexander Graf and Dietrich Scheunemann
This volume on avant-garde film has emerged as part of a wider reassessment of 20th century avant-garde art, literature and film carried out in the framework of a research project at the University of Edinburgh. It paves the way for a fresh assessment of avant-garde film and develops its theory as an integral part of a newly defined conception of the avant-garde as a whole, by closing the gap between theoretical approaches towards the avant-garde as defined on the basis of art and literature on the one hand and avant-garde cinema on the other. It gathers contributions by the most esteemed scholars in the field of avant-garde studies relating to the “classical” avant-garde cinema of the 1920s, to new trends emerging in the 1950s and 1960s and to the impact that innovative technologies have recently had on the further development of avant-garde and experimental film. The contributions reflect the broad range of different moving-image media that make up what we refer to today simply as “film”, at the same time as reconsidering the applicability of the label “avant-garde”, to offer a comprehensive and updated framework that will prove invaluable to scholars of both Moving Image Studies and Art History disciplines.