university press of mississippi

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  1. Autobiographical Comics
    -31 %

    Autobiographical Comics

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    Over the last forty years the comic book has become an increasingly popular way of telling person...

    Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth. In Autobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre.

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  2. Outsider Art
    -24 %

    Outsider Art

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    Provides a comprehensive guide through the contested terrain of outsider art and the related doma...

    Provides a comprehensive guide through the contested terrain of outsider art and the related domains of art brut, visionary art, "art of the insane”, and folk art. The book examines the history and primary issues of the field as well as explores the intersection between culture and individual creativity that is at the very heart of outsider art definitions and debates.

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  3. Paul Verhoeven
    -26 %

    Paul Verhoeven

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    After a robust career in the Netherlands as the country's most successful director, Paul Verhoeve...

    After a robust career in the Netherlands as the country's most successful director, Paul Verhoeven built an impressive career in the US with controversial blockbusters. Paul Verhoeven: Interviews covers every phase of the director's career, beginning with six newly translated Dutch newspaper interviews and ending with a set of previously unpublished interviews dedicated to his most recent work.

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  4. Comics of Julie Doucet and Gabrielle Bell
    -12 %

    Comics of Julie Doucet and Gabrielle Bell

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    Contributions by Kylie Cardell, Aaron Cometbus, Margaret Galvan, Sarah Hildebrand, Frederik Byrn ...

    Contributions by Kylie Cardell, Aaron Cometbus, Margaret Galvan, Sarah Hildebrand, Frederik Byrn Køhlert, Tahneer Oksman, Seamus O'Malley, Annie Mok, Dan Nadel, Natalie Pendergast, Sarah Richardson, Jessica Stark, and James YehIn a self-reflexive way, Julie Doucet's and Gabrielle Bell's comics, though often autobiographical, defy easy categorization. In this volume, editors Tahneer Oksman and Seamus O'Malley regard Doucet's and Bell's art as actively feminist, not only because they offer women's perspectives, but because they do so by provocatively bringing up the complicated, multivalent frameworks of such engagements. While each artist has a unique perspective, style, and worldview, the essays in this book investigate their shared investments in formal innovation and experimentation, and in playing with questions of the autobiographical, the fantastic, and the spaces in between.Doucet is a Canadian underground cartoonist, known for her autobiographical works such as Dirty Plotte and My New York Diary. Meanwhile, Bell is a British American cartoonist best known for her intensely introspective semiautobiographical comics and graphic memoirs, such as the Lucky series and Cecil and Jordan in New York. By pairing Doucet alongside Bell, the book recognizes the significance of female networks, and the social and cultural connections, associations, and conditions that shape every work of art.In addition to original essays, this volume republishes interviews with the artists. By reading Doucet's and Bell's comics together in this volume housed in a series devoted to single-creator studies, the book shows how despite the importance of finding "a place inside yourself" to create, this space seems always for better or worse a shared space culled from and subject to surrounding lives, experiences, and subjectivities.

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  5. Stanley Kubrick
    -31 %

    Stanley Kubrick

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    "I might try to make something of an imperfect story with my efforts as a writer, but I would nev...

    "I might try to make something of an imperfect story with my efforts as a writer, but I would never attempt to film a story that I was not finally in love with." From his first feature film, Fear and Desire (1953), to his final, posthumously released Eyes Wide Shut (1999), Stanley Kubrick (1928-1999) excelled at probing the dark corners of human consciousness. In doing so, he adapted such popular novels as The Killing, Lolita, A Clockwork Orange, and The Shining and selected a wide variety of genres for his films-black comedy (Dr. Strangelove), science fiction (2001: A Space Odyssey), and war (Paths of Glory and Full Metal Jacket). Because he was peerless in unveiling the intimate mysteries of human nature, no new film by Kubrick ever failed to spark debate or to be deeply pondered. Neither guarded nor evasive, the Kubrick who emerges from these interviews is candid, opinionated, confident, and articulate. His incredible memory and his gift for organization come to light as he quotes verbatim sections of reviews, books, and articles. Despite his reputation as a recluse, the Kubrick of these interviews is approachable, witty, full of anecdotes, and eager to share a fascinating story. Gene D. Phillips, S.J., is a professor of English at Loyola University in Chicago, where he teaches fiction and the history of film. He is the author and editor of many notable books on film including (with Rodney Hill) Francis Ford Coppola: Interviews from University Press of Mississippi. He was acquainted with Stanley Kubrick for twenty-five years.

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  6. Eric Rohmer

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    The 1969 film Ma Nuit chez Maud (My Night at Maud's) catapulted its shy academic film director, E...

    The 1969 film Ma Nuit chez Maud (My Night at Maud's) catapulted its shy academic film director, Eric Rohmer, born Jean-Marie Maurice Scherer (1920-2010), into the limelight and sold over a million tickets in France, earning a nomination for an Academy Award. Ma Nuit chez Maud remains his most famous film, the highlight of an impressive range of work examining the sexual, romantic, and artistic mores of contemporary France, the temptations of desire, the small joys of everyday life, and sometimes, the vicissitudes of history and politics. Yet Rohmer, who became one of the most significant forces in French New Wave film, was almost fifty years old when Maud was released and had already enjoyed a career as the editor of Cahiers du Cinéma. The interviews in this book offer a range of insights into the theoretical, critical, and practical circumstances of Rohmer's remarkably coherent body of films. They also allow Rohmer to act as his own critic, providing an array of readings concerning his interest in setting, season, color, and narrative. Alongside the application of a theoretical rigor to his own films, Rohmer's interviews also discuss directors as varied as Jean-Luc Godard, Marcel Carné, Jean Renoir, and Alfred Hitchcock, and the relations of film to painting, architecture, and music. This book reproduces little-known interviews alongside detailed discussions from Cahiers and Positif, many produced in English here for the first time. Fiona Handyside, Exeter, United Kingdom, is lecturer in European film studies at University of Exeter. Her work has been published in numerous journals including Studies in French Cinema, Film/ Literature Quarterly, and French Cultural Studies.
  7. Conversations with Edna O'Brien
    -9 %

    Conversations with Edna O'Brien

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    "Who's afraid of Edna O'Brien?" asks an early interviewer in Conversations with Edna O'Brien. Wit...

    "Who's afraid of Edna O'Brien?" asks an early interviewer in Conversations with Edna O'Brien. With over fifty years of published novels, biographies, plays, telecasts, short stories, and more, it is hard not to be intimidated by her. An acclaimed and controversial Irish writer, O'Brien (b. 1930) saw her early works, starting in 1960 with The Country Girls, banned and burned in Ireland, but often read in secret. Her contemporary work continues to spark debates on the rigors and challenges of Catholic conservatism and the struggle for women to make a place for themselves in the world without anxiety and guilt. The raw nerve of emotion at the heart of her lyrical prose provokes readers, challenges politicians, and proves difficult for critics to place her.In these interviews, O'Brien finds her own critical voice and moves interviewers away from a focus on her life as the "once infamous Edna" toward a focus on her works. Parallels between Edna O'Brien and her literary muse and mentor, James Joyce, are often cited in interviews such as Philip Roth's description of The Country Girls as a "rural Dubliners." While Joyce is the centerpiece of O'Brien's literary pantheon, allusions to writers such as Shakespeare, Chekhov, Beckett, and Woolf become a medium for her critical voice. Conversations with contemporary writers Philip Roth and Glenn Patterson reveal Edna O'Brien's sense of herself as a contemporary writer. The final interview included here, with BBC personality William Crawley at Queen's University Belfast is a synthesis of her acceptance and fame as an Irish writer and an Irish woman and an affirmation of her literary authority.

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  8. Steve Gerber
    -19 %

    Steve Gerber

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    Steve Gerber (1947-2008) is among the most significant comics writers of the modern era. Best kno...

    Steve Gerber (1947-2008) is among the most significant comics writers of the modern era. Best known for his magnum opus Howard the Duck, he also wrote influential series such as Man-Thing, Omega the Unknown, The Phantom Zone, and Hard Time, expressing a combination of intelligence and empathy rare in American comics.Gerber rose to prominence during the 1970s. His work for Marvel Comics during that era helped revitalize several increasingly clichéd generic conventions of superhero, horror, and funny animal comics by inserting satire, psychological complexity, and existential absurdism. Gerber's scripts were also often socially conscious, confronting, among other things, capitalism, environmentalism, political corruption, and censorship. His critique also extended into the personal sphere, addressing such taboo topics as domestic violence, racism, inequality, and poverty.This volume follows Gerber's career through a range of interviews, beginning with his height during the 1970s and ending with an interview with Michael Eury just before Gerber's death in 2008. Among the pieces featured is a 1976 interview with Mark Lerer, originally published in the low-circulation fanzine Pittsburgh Fan Forum, where Gerber looks back on his work for Marvel during the early to mid-1970s, his most prolific period. This volume concludes with selections from Gerber's dialogue with his readers and admirers in online forums and a Gerber-based Yahoo Group, wherein he candidly discusses his many projects over the years.Gerber's unique voice in comics has established his legacy. Indeed, his contribution earned him a posthumous induction into the Will Eisner Comic Book Hall of Fame.

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  9. Greek Music in America
    -10 %

    Greek Music in America

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    Contributions by Tina Bucuvalas, Anna Caraveli, Aydin Chaloupka, Sotirios (Sam) Chianis, Frank De...

    Contributions by Tina Bucuvalas, Anna Caraveli, Aydin Chaloupka, Sotirios (Sam) Chianis, Frank Desby, Stavros K. Frangos, Stathis Gauntlett, Joseph G. Graziosi, Gail Holst-Warhaft, Michael G. Kaloyanides, Panayotis League, Roderick Conway Morris, National Endowment for the Arts/National Heritage Fellows, Nick Pappas, Meletios Pouliopoulos, Anthony Shay, David Soffa, Dick Spottswood, Jim Stoynoff, and Anna Lomax WoodDespite a substantial artistic legacy, there has never been a book devoted to Greek music in America until now. Those seeking to learn about this vibrant and exciting music were forced to seek out individual essays, often published in obscure or ephemeral sources. This volume provides a singular platform for understanding the scope, practice, and development of Greek music in America through essays and profiles written by principal scholars in the field.Greece developed a rich variety of traditional, popular, and art music that diasporic Greeks brought with them to America. In Greek American communities, music was and continues to be an essential component of most social activities. Music links the past to the present, the distant to the near, and bonds the community with an embrace of memories and narrative. From 1896 to 1942, more than a thousand Greek recordings in many genres were made in the United States, and thousands more have appeared since then. These encompass not only Greek traditional music from all regions, but also emerging urban genres, stylistic changes, and new songs of social commentary. Greek Music in America includes essays on all of these topics as well as history and genre, places and venues, the recording business, and profiles of individual musicians. This book is required reading for anyone who cares about Greek music in America, whether scholar, fan, or performer.

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  10. Graphic Satire in the Soviet Union
    -12 %

    Graphic Satire in the Soviet Union

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    After the death of Joseph Stalin, Soviet-era Russia experienced a flourishing artistic movement d...

    After the death of Joseph Stalin, Soviet-era Russia experienced a flourishing artistic movement due to relaxed censorship and new economic growth. In this new atmosphere of freedom, Russia's satirical magazine Krokodil (The Crocodile) became rejuvenated. John Etty explores Soviet graphic satire through Krokodil and its political cartoons. He investigates the forms, production, consumption, and functions of Krokodil, focusing on the period from 1954 to 1964.Krokodil remained the longest-serving and most important satirical journal in the Soviet Union, unique in producing state-sanctioned graphic satirical comment on Soviet and international affairs for over seventy years. Etty's analysis of Krokodil extends and enhances our understanding of Soviet graphic satire beyond state-sponsored propaganda.For most of its life, Krokodil consisted of a sixteen-page satirical magazine comprising a range of cartoons, photographs, and verbal texts. Authored by professional and nonprofessional contributors and published by Pravda in Moscow, it produced state-sanctioned satirical comment on Soviet and international affairs from 1922 onward. Soviet citizens and scholars of the USSR recognized Krokodil as the most significant, influential source of Soviet graphic satire. Indeed, the magazine enjoyed an international reputation, and many Americans and Western Europeans, regardless of political affiliation, found the images pointed and witty. Astoundingly, the magazine outlived the USSR but until now has received little scholarly attention.

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