This script by British director Peter Greenaway (born 1942) follows Russian director Eisenstein to Guanajuato, Mexico, in 1930, where he worked for ten days on a never-completed film called Que Viva Mexico.

Studies Honoré as an auteur who intervenes in French filmmaking practices and culture with a queer "caméra-stylo."

Richard Dyer is a foundational figure for the critical study of cinema and popular culture. Across a career spanning five decades, he has made path breaking contributions to our understanding of stardom and celebrity, gay and queer politics and cultural history, film music, race and whiteness and the pleasures of popular entertainment. The Richard Dyer Reader brings together for the first time key writings by this vital and influential figure, many of which are not otherwise available. The anthology guides readers through Dyer's prolific and rich output through six thematic selections of essays and extracts, each centred on a key theme in Dyer's work: stardom and the image; entertainment and ideology; gay politics and representation; whiteness; the pleasures of popular entertainment, and textual analysis. A seventh section comprises a selection of interviews conducted across the span of his career, as well as a new interview with editors Glyn Davis and Jaap Kooijman. The book will provide an introduction for those new to Dyer's writings, as well as offering a fresh perspective for readers with a more comprehensive knowledge of his work. The collection includes archival and recent pieces of writing never previously anthologised, newly commissioned essays, a substantial introduction to Dyer's life and work and framing introduction to each section.

This is the first book to provide a direct and comprehensive account of British art cinema. Film history has tended to view British filmmakers as aesthetically conservative, but the truth is they have a long tradition of experiment and artistry, both within and beyond the mainstream. Beginning with the silent period and running up to the 2010s, the book draws attention to this tradition while acknowledging that art cinema in Britain is a complex and fluid concept that needs to be considered within broader concerns. It will be of particular interest to scholars and students of British cinema history, film genre, experimental filmmaking, and British cultural history.

Experimentalisms in Practice explores the multiple sites in which experimentalism emerges and becomes meaningful beyond Eurocentric interpretative frameworks. Challenging the notion of experimentalism as defined in conventional narratives, contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived or perceived as experimental. The conversation takes as starting point the 1960s, a decade that marks a crucial political and epistemological moment for Latin America; militant and committed aesthetic practices resonated with this moment, resulting in a multiplicity of artistic and musical experimental expressions. Experimentalisms in Practice responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, while also engaging traditional scholarship. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field.

Discovering the queer auteur and their seductive cinematic delights and possibilities. How do we identify the "queer auteur" and their queer imaginings? Is it possible to account for such a figure when the very terms "queer" and "auteur" invoke aesthetic surprises and disorientations, disconcerting ironies and paradoxes, and biographical deceits and ambiguities? In eighteen eloquent chapters, David A. Gerstner traces a history of ideas that spotlight an ever-shifting terrain associated with auteur theory and, in particular, queer-auteur theory. Engaging with the likes of Oscar Wilde, Walter Benjamin, James Baldwin, Jean Louis Baudry, Linda Nochlin, Jane Gallop, Cáel Keegan, Luce Irigaray, and other prominent critical thinkers, Gerstner contemplates how the queer auteur in film theory might open us to the work of desire. Queer Imaginings argues for a queer-auteur in which critical theory is reenabled to reconceptualize the auteur in relation to race, gender, sexuality, and desire. Gerstner succinctly defines the contours of a history and the ongoing discussions that situate queer and auteur theories in film studies. Ultimately, Queer Imaginingsis a journey in shared pleasures in which writing for and about cinema makes way for unanticipated cinematic friendships.

In the 1920s, Mexican composer Julián Carrillo (1875-1965) developed a microtonal system he metaphorically called El Sonido 13 (The 13th Sound). Although his pioneering role as one of the first proponents of microtonality gave him a cult figure status among European avant-garde circles in the 1960s and 1970s, his music and legacy have remained largely ignored by scholars and critics. This book explores his ideas not only in relation to the historical moments of their inception but also in relation to the various cultural projects that kept them alive and resignified them into the 21st century.

This passionate and monumental biography reassesses the life and legacy of one of the most significant cultural figures of the twentieth century Unevenly respected, easily hated, almost always suspected of being inferior to his reputation, Jean Cocteau has often been thought of as a jack-of-all-trades, master of none. In this landmark biography, Claude Arnaud thoroughly contests this characterization, as he celebrates Cocteau's "fragile genius--a combination almost unlivable in art" but in his case so fertile. Arnaud narrates the life of this legendary French novelist, poet, playwright, director, filmmaker, and designer who, as a young man, pretended to be a sort of a god, but who died as a humble and exhausted craftsman. His moving and compassionate account examines the nature of Cocteau's chameleon-like genius, his romantic attachments, his controversial politics, and his intimate involvement with many of the century's leading artistic lights, including Picasso, Proust, Hemingway, Stravinsky, and Tennessee Williams. Already published to great critical acclaim in France, Arnaud's penetrating and deeply researched work reveals a uniquely gifted artist while offering a magnificent cultural history of the twentieth century.

At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of Tijuana and through the Internet, quickly conquered a global audience. Marketed as a kind of "ethnic" electronic dance music, Nor-tec samples sounds of traditional music from the north of Mexico, and transforms them through computer technology used in European and American techno music and electronica. Tijuana has media links to both Mexico and the United States, with peoples, currencies, and cultural goods--perhaps especially music--from both sides circulating intensely within the city. Older residents and their more mobile, cosmopolitan-minded children thus engage in a constant struggle with identity and nationality, appropriation and authenticity. Nor-tec music in its very composition encapsulates this city's struggle, resonating with issues felt on the global level, while holding vastly different meanings to the variety of communities that embrace it. With an impressive hybrid of musicology, ethnomusicology, cultural and performance studies, urbanism, and border studies, Nor-tec Rifa! offers compelling insights into the cultural production of Nor-tec as it stems from norteña, banda, and grupera traditions. The book is also among the first to offer detailed accounts of Nor-tec music's composition process.