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Weekend at Prism: Volume Two in the Marcoglint Trilogy
Weekend at Prism: Volume Two in the Marcoglint Trilogy – John Patrick Kavanagh – Google Books
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Tense, involving, Camden’s Knife is a smart near-future thriller with a startlingly real sense of plausibility. In a world that's falling apart, can one ordinary person make a difference? Tremendous stuff! Kavanagh can write!”– Hugo Award-winner David Wingrove, author of the Chung Kuo series and the Roads To Moscow trilogyIn the second novel in The Macroglint Trilogy set in the near future, Jip Spotswood, our intrepid pop culture reporter, is covering the biggest story of his life. The world has become riveted by a $100 Million Tournament of the game STANDOFF! which is to be held in Prism Resort in Las Vegas, at the same time as the greatest Battle of the Bands contest featuring Pandora’s Obsession vs. Christie Cramer, Billy Blair and the Alliance (CCBBA) in “the biggest rock concert in the history of the Universe.” And Spotswood has a stake in the outcome of both events that could not only change his own life, but the future of America.
Josephine Baker’s Cinematic Prism – Google Books-Ergebnisseite
Josephine Baker’s Cinematic Prism – Terri Simone Francis – Google Books
A history and in-depth analysis of the film career of the iconic Black star, activist, and French military intelligence agent. Josephine Baker, the first Black woman to star in a major motion picture, was both liberated and delightfully undignified, playfully vacillating between allure and colonialist stereotyping. Nicknamed the “Black Venus,” “Black Pearl,” and “Creole Goddess,” Baker blended the sensual and the comedic when taking 1920s Europe by storm. Back home in the United States, Baker’s film career brought hope to the Black press that a new cinema centered on Black glamour would come to fruition. In Josephine Baker’s Cinematic Prism, Terri Simone Francis examines how Baker fashioned her celebrity through cinematic reflexivity, an authorial strategy in which she placed herself, her persona, and her character into visual dialogue. Francis contends that though Baker was an African American actress who lived and worked in France exclusively with a white film company, white costars, white writers, and white directors, she holds monumental significance for African American cinema as the first truly global Black woman film star. Francis also examines the double-talk between Baker and her characters in Le Pompier de Folies Bergère, La Sirène des Tropiques, Zou Zou, Princesse Tam Tam, and The French Way, whose narratives seem to undermine the very stardom they offered. In doing so, Francis illuminates the most resonant links between emergent African American cinephilia, the diverse opinions of Baker in the popular press, and African Americans’ broader aspirations for progress toward racial equality. Examining an unexplored aspect of Baker’s career, Josephine Baker’s Cinematic Prism deepens the ongoing conversation about race, gender, and performance in the African diaspora.
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