Lighting and shadows are used within a range of art forms to create aesthetic effects. Piotr Sadowski's study of light and shadow in Weimar cinema and contemporaneous visual arts is underpinned by the evolutionary semiotic theories of indexicality and iconicity. These theories explain the unique communicative and emotive power of light and shadow when used in contemporary indexical media including the shadow theatre, silhouette portraits, camera obscura, photography and film. In particular, Sadowski highlights the aesthetic and emotional significance of shadows. The 'cast shadow', as an indexical sign, maintains a physical connection with its near-present referent, such as a hidden person, stimulating a viewer's imagination and provoking responses including anxiety or curiosity. The 'cinematic shadow' plays a stylistic role, by enhancing image texture, depth of field, and tonal contrast of cinematic moments. Such enhancements are especially important in monochromatic films, and Sadowski interweaves the book with accounts of seminal Weimar cinema moments. Sadowski's book is distinctive for combining historical materials and theoretical approaches to develop a deeper understanding of Weimar cinema and other contemporary art forms. The Semiotics of Light and Shadows is an ideal resource for both scholars and students working in linguistics, semiotics, film, media, and visual arts.

The Routledge Companion to Puppetry and Material Performance offers a wide-ranging perspective on how scholars and artists are currently re-evaluating the theoretical, historical, and theatrical significance of performance that embraces the agency of inanimate objects. This book proposes a collaborative, responsive model for broader artistic engagement in and with the material world. Its 28 chapters aim to advance the study of the puppet not only as a theatrical object but also as a vibrant artistic and scholarly discipline. This Companion looks at puppetry and material performance from six perspectives: theoretical approaches to the puppet, perspectives from practitioners, revisiting history, negotiating tradition, material performances in contemporary theatre, and hybrid forms. Its wide range of topics, which span 15 countries over five continents, encompasses: • visual dramaturgy • theatrical juxtapositions of robots and humans • contemporary transformations of Indonesian wayang kulit • Japanese ritual body substitutes • recent European productions featuring toys, clay, and food. The book features newly commissioned essays by leading scholars such as Matthew Isaac Cohen, Kathy Foley, Jane Marie Law, Eleanor Margolies, Cody Poulton, and Jane Taylor. It also celebrates the vital link between puppetry as a discipline and as a creative practice with chapters by active practitioners, including Handspring Puppet Company’s Basil Jones, Redmoon’s Jim Lasko, and Bread and Puppet’s Peter Schumann. Fully illustrated with more than 60 images, this volume comprises the most expansive English-language collection of international puppetry scholarship to date.

City Gate, Open Up is the lyrical autobiography of China's legendary poet Bei Dao. Exiled from Beijing in the wake of the 1989 Tiananmen Square protests, Bei Dao returned to his homeland in 2001 for the first time in over twenty years. The city of his youth had vanished: 'I was a foreigner in my hometown,' he writes. The shock of this experience released a flood of memories and emotions contained in City Gate, Open Up. The poet recalls the Beijing of his youth, from the birth of the People's Republic, through the chaotic years of the Great Leap Forward, and on into the Cultural Revolution. At the centre of the book are his parents and siblings and their everyday life together through famine and festival. Bei Dao's autobiography is a memory palace of endless alleyways and corridors, where personal narrative mixes with the momentous history he lived through. 'One of the great poets of our time.' Michael Hofmann. 'Intense, elegant and impressionistic.' Dwight Garner

This full-color and amply illustrated book is written for film, television, and theatre makeup artists who need to know the basics on how to accomplish flawless makeup applications. It begins with fundamental practices and continues through more complex techniques usually known only by Hollywood makeup artists. Written by two expert authors who have experience doing makeup for television, commmercials, and blockbuster films, readers will learn about beauty, time periods, black and white film, as well as cutting edge techniques such as air brusshing makeup for computer-generated movies, and makeup effects. High definition (HD) technology has revolutionized the techniques needed by makeup artists--you need to know more, have more talent, and be more detailed than ever before. Because HD emphasizes every detail on screen, it's essential for makeup artists to know how to achieve a desired "look" that fits the director's requirements. This book will help professional and aspiring makeup artists to hone their craft in both conventional and HD techniques.

Through conversations held with fifteen of the most accomplished contemporary cinematographers, the authors explore the working world of the person who controls the visual look and style of a film. This reissue includes a new foreword by cinematographer John Bailey and a new preface by the authors, which bring this classic guide to cinematography, in print for more than twenty-five years, into the twenty-first century.

Arc of Light and Shadow invites you on a journey into the natural world. It draws you into the liminal spaces that open the heart to explore its forgotten corners, to beckon the light, illuminating new pathways and vistas. Words and images converge to evoke a sense of wonder, joy and hope, even through shadows of loss and pain.

In this revealing study, Daisuke Miyao explores "the aesthetics of shadow" in Japanese cinema in the first half of the twentieth century. This term, coined by the production designer Yoshino Nobutaka, refers to the perception that shadows add depth and mystery. Miyao analyzes how this notion became naturalized as the representation of beauty in Japanese films, situating Japanese cinema within transnational film history. He examines the significant roles lighting played in distinguishing the styles of Japanese film from American and European film and the ways that lighting facilitated the formulation of a coherent new Japanese cultural tradition. Miyao discusses the influences of Hollywood and German cinema alongside Japanese Kabuki theater lighting traditions and the emergence of neon commercial lighting during this period. He argues that lighting technology in cinema had been structured by the conflicts of modernity in Japan, including capitalist transitions in the film industry, the articulation of Japanese cultural and national identity, and increased subjectivity for individuals. By focusing on the understudied element of film lighting and treating cinematographers and lighting designers as essential collaborators in moviemaking, Miyao offers a rereading of Japanese film history.