In this innovative attempt to place the movies and theater in the larger context of American and English cultural differences, Michael Gilmore demonstrates that the most interesting way to understand the distinctions between the two cultures is by looking closely at each country's favorite art form. Differences in the Dark is a fresh, wide-ranging look at the meaning of America's fascination with movies and movie stars, and the way the soul of Britain is reflected in its tenacious love affair with the stage. Bringing together such diverse topics as theme parks, realism, and social class, as well as the role of Jewish immigrants in the making of Hollywood (and their virtual exclusion from Great Britain) and the connection between the movies and the African-American community, Differences in the Dark is one of the most original and engaging cross-cultural studies to appear in many years.
Setting / LocationLondon & UK
Story EraModern Era
Protagonist / CoreDifferences in the dark Lead Character
Leaping effortlessly from bright streams into the human imagination, the trout has an ancient fascination that can be traced back to Stone Age cave dwellers, and it thrives today in our diet, religion, folklore, history, science, literature, and, of course, fishermen's tales. Taking myriad forms, the fish has a vitality and physical beauty that brings to mind pure waters and quiet, outdoor spaces. This biography of the trout showcases the animal as sacred fish, edible fish, farmed fish, and a fish of scientific investigation. In telling this story, Owen follows the trout around the world: starting in Europe and North America, he then follows the voyage that took the creature from England to Australia in the nineteenth century. Along the way, he presents a diverse cast of characters, from obscure British saints and fly-fishing nuns to visionary inventors, jazz singers, and counterculture novelists-- all united by this magical animal.--Cover.
In January 1987, archaeologist and museum curator Dr. Walter Alva was asked to examine a collection of strange artifacts found in the home of a poor grave robber on Peru's remote north coast. The subsequent police inquiry traced the cache to an ancient pyramid at Sipan, where looters had plundered a royal tomb of a little-known civilization called the Moche. This ransacking of the New World's richest archaeological discovery devastated Alva, who had been conducting a. Ten-year crusade to protect Peru's monuments of the past. What he did not know was that the looted artifacts had already been smuggled out of Peru and into England for re-transport to Los Angeles, where they would be sold to wealthy art collectors and dealers. At Sipan itself, the police, fearing for his safety, were demanding that Alva abandon his search for objects the looters might have missed. His own colleagues were also urging him to leave, believing he was wasting. Precious resources on an excavation doomed to failure. In the midst of this crisis, Christopher Donnan, the world's most respected Moche scholar, arrived with much-needed cash, supplies, and encouragement, along with the news that the precious artifacts were already in the hands of collectors and dealers. Donnan's information proved correct, for in the months to come, looted artifacts reached the hands of Los Angeles Museum of Art trustee Ben Johnson and Nobel. Prize-winning physicist Murray Gell-Man. In fact, many of the objects would soon go on display at the prestigious Santa Barbara Art Museum. Meanwhile, U.S. Customs agents had begun an investigation into the smuggling operation, and in March 1988, their unprecedented seizure of pre-Columbian antiquities sent shock waves through the art world. When reports of the raid reached Peru, Alva was having a celebration of his own. The pyramid at Sipan was not the burial place of a. Single Moche lord but was, like the Valley of Kings of ancient Egypt, a necropolis containing many lords. At least three tombs, richer in gold and silver than any other site excavated in the Americas, remained intact. To protect their discovery, Alva and his men put down their shovels and picked up guns, confronting the looters and winning their support. Police and Customs agents, however, were much less successful in their efforts to gain the return of the stolen. Artifacts. A controversial U.S. court decision resulted in the forfeiture to Peru of only 250 of the nearly 3,000 precious objects seized by the police. But an important precedent was set, serious questions were raised about private ownership of national treasures, and the first conviction in U.S. history for smuggling pre-Columbian art was obtained.
From the bestselling author of The Art of Travel comes a wittily intriguing exploration of the strange "non-place" that he believes is the imaginative center of our civilization.
The internationally acclaimed work of the American video and installation artist. American video and installation artist Doug Aitken (b.1968) exploded onto the international art scene with his multi-screen work electric earth, which captivated audiences at the Venice and Whitney biennales in 1999. This work focused on the bizarre nocturnal experiences of a young man exploring the edges of Los Angeles, presenting dream-like sequences that rearrange the linear flow of narrative into a series of unforgettable, disjointed photographic tableaux. Like much of his work, it contrasts the high-tech speed of contemporary daily life with the monotony of the urban landscape. In other works he has explored the eerie, desterted atmosphere of Jonestown, Guyana, the site of the notorious mass suicide of religious cultists (monsoon, 1997); a remote diamond-mining region of Namibia, closed to outsiders since 1908 (diamond sea, 1997); and the collective dreams of India's Bollywood film industry (into the sun, 1999). Portraying some of contemporary art's most beautiful imagery, Aitken's installations encircle the viewer, creating a suspended, hyperreal portrait of contemporary life. In the survey, curator and critic Daniel Birnbaum sets Aitken's art within the context of contemporary philosophy and the work of other recent artists who have explored expanded notions of time and space. In the Interview, Frieze publisher and critic Amanda Sharp discusses the artist's working methods, while in the Focus section critic Jörg Heiser looks at Aitken's i am in you (2000), a five-screen work centring on the imaginative experiences of a young girl. For his Artist's Choice Aitken has selected a short story by Jorge Luis Borges, whose description of altered realities through the distortions of mirrors and memory echoes the artist's own interests. Artist's Writings include Aitken's retelling of an unusual story he once heard from strangers, which served as the basis for subsequent video work.
Differences in the dark by Michael T. Gilmore | Literally Just Books
