Studies in Photography
Publishing, books, journals and photographic prints
View Rights PortalThe publishing programme at Royal Collection Trust aims to create the highest-quality books, exhibition catalogues, guides and children's books to celebrate the royal residences and the works of art found within them. Our list includes beautifully produced printed books, apps and online catalogues and symposia. We also publish scholarly catalogues raisonnés, which demonstrate the highest standards of academic research.
View Rights PortalAngelika Gundlach, geboren 1950 in Hamburg, lebte als freie Übersetzerin in Frankfurt am Main. Sie übertrug Texte aus dem Schwedischen, Dänischen, Norwegischen, Französischen und Englischen ins Deutsche. Gundlach starb am 18. August 2019 in Seligenstadt. *10.03.1911 geboren in Stockholm. 1930 Wehrdienst bei einem Infanterieregiment nach dem Besuch des privaten Sofie-Almqvist-Gymnasiums. Erkrankt schwer an einer Lungenentzündung. 1931 Studium der Geschichte und Philosophie in Stockholm, das er aber Studium auf Grund einer lebensbedrohenden Schwindsucht unterbrechen muß. Mehrere Sanatoriumsaufenthalte und lange Erholungsreisen durch Südeuropa folgen. 1934 Rückkehr nach Schweden. Seine erste Rezension und erste Gedichte wurden bereits 1933 in Schweden publiziert. Es folgen weitere Aufsätze, literaturwissenschaftliche Abhandlungen, Tagebuchblätter; Anthologien, Reiseberichte, Essays, Übersetzungen und Verse, etc. 1940-1951 Rezensent bei "Svenska Dagbladet". 1942-1950 Rezensent bei "Bonniers Litterära Magasin". 1944-1945 Redaktion "Samtid och Framtid". 1945-1947 Redaktion "Vintergatan". 1951 Habilitationsschrift. 1951-1960 Leitung der Kulturredaktion von "Dagens Nyheter". 1956 Auszeichnung mit dem Bellmann-Preis. 1960-1975 Chefredakteur von "Dagens Nyheter". Die Zahl seiner Publikationen bricht mit dem Ende dieser Tätigkeit nicht ab. 1964 Auszeichnung mit dem Literaturpreis des Nordischen Rates. 1970 erhielt er eine Einladung für einen längeren Aufenthalt in der Volksrepublik China, über den er in seiner Zeitung berichtete. 23.07.02 stirbt im Alter von 91 Jahren in Drottningholm (Schweden).
European Film Noir is the first book to bring together specialist discussions of film noir in specific European national cinemas. Written by leading scholars, this groundbreaking study provides an authoritative understanding of an important aspect of European cinema and of film noir itself, for too long considered as a solely American form. The Introduction reviews the problems of defining film noir, its key characteristics and discusses its significance to the development of European film, the relationship of specific national films noirs to each other, to American noir and to historical and social change. Eight chapters then discuss film noir in France, Germany, Britain and Spain, analysing both earlier developments and the evolution of neo-noir through to the present. A further chapter explores film noir in Italian cinema where its presence is not so well defined. Each piece provides a critical overview of the most significant films in relation to their industrial and social contexts. European Film Noir is an important contribution to the study of European cinema that will have a broad appeal to undergraduates, cinéastes, film teachers and researchers.
Between 1914 and 1918, military, press and amateur photographers produced thousands of pictures. Either classified in military archives specially created with this purpose in 1915, collected in personal albums or circulated in illustrated magazines, photographs were supposed to tell the story of the war. Picturing the Western Front argues that photographic practices also shaped combatants and civilians' war experiences. Doing photography (taking pictures, posing for them, exhibiting, cataloguing and looking at them) allowed combatants and civilians to make sense of what they were living through. Photography mattered because it enabled combatants and civilians to record events, establish or reinforce bonds with one another, represent bodies, place people and events in imaginative geographies and making things visible, while making others, such as suicide, invisible. Photographic practices became, thus, frames of experience.
Lukácsian film theory and cinema explores Georg Lukács' writings on film. The Hungarian Marxist critic Georg Lukács is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English - until now. Aitken has gathered together the most important essays and the translations appear here, often for the first time. This book thus makes a decisive contribution to understandings of Lukács within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukács' literary theory is well known for its repudiation of naturalism, in his writings on film Lukács appears to advance a theory and practice of film that can best be described as naturalist. Lukácsian film theory and cinema is divided into two parts. In part one, Lukács' writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves. This book will be of considerable interest to scholars and students working within the fields of film studies, literary studies, intellectual history, media and cultural studies. It is also intended to be the final volume in a trilogy of works on cinematic realism, which includes the author's earlier European film theory and cinema (2001), and Realist film theory and cinema (2006).
'Realist film theory and cinema' embraces studies of cinematic realism and 19th century tradition, the realist film theories of Lukács, Grierson, Bazin and Kracauer, and the relationship of realist film theory to the general field of film theory and philosophy. This is the first book to attempt a rigorous and systematic application of realist film theory to the analysis of particular films. The book suggests new ways forward for a new series of studies in cinematic realism, and for a new form of film theory based on realism. It stresses the importance of the question of realism both in film studies and in contemporary life. Aitken's work will be of interest to scholars and advanced students of film studies, literary studies, media studies, cultural studies and philosophy.