Bøger af David Weir

Luchino Visconti's The Leopard (Il Gattopardo, 1963) tells the story of an aristocratic Sicilian family adjusting to the realities of political and commercial modernity after the unification Italy during the Risorgimento.The film, starring Claudia Cardinale, Burt Lancaster and Alain Delon, met with success upon its initial release, winning the Palme d'Or at Cannes and having a successful theatrical run in Europe. Despite this, however, it did not do well with English-speaking audiences, and eventually even fell out of favour with Italian audiences, who took issue with the way Risorgimento history was represented. David Weir's study of the film seeks to understand the film's paradoxical place in Italian film history. He argues that Visconti's use of artifice, narrative and history, all aspects that came to be criticised, were in fact, essential to his cinematic art, and can all be understood as strengths of the film. Providing a scene-by-scene analysis of the film, as well as illuminating its relationship to the Lampedusa novel from which it was adapted, Weir suggests that Visconti's film goes beyond mere adaptation, using the form of the novel for cinematic purposes and making The Leopard a cinematic novel in its own right. He goes on to situate the film within Visconti's career, questioning whether the uneven reception of the film reflects the paradox of Visconti's social status as a Marxist aristocrat and his position as an auteur director whose films borrowed heavily from the decadent tradition, while at the same time professing allegiance to the Italian Communist Party.

The nineteenth-century Romantic myth of Bohemia emerged to describe the new conditions faced by artists and writers, who after the previous system of aristocratic patronage collapsed were free to move around in search of success. Yet most real-life bohemians have scant interest in commercial gain and are not so itinerant after all. Tracing these contradictions in bohemian cultures and lifestyles from the early nineteenth century to the present, David Weir explores the myth of Bohemia as it developed in various forms of expression--novels, plays, operas, films--and in key cities, including Paris, Munich, and New York. Weir concludes with a discussion of the legacy of Bohemia today as something outworn and dying, an exhausted tradition that somehow continues.

Every minute, someone in the Third World becomes a victim of pesticide poisoning. Circle of Poison documents the international marketing of restricted pesticides that leave a globe-circling trail of sickness and death. But the circle's victims are not silent. Around the world, people are fighting back.

This study examines the affinity for anarchism that developed among late 19th-century writers, and shows that anarchism is the key aesthetic principle informing the work of modernist figures. Weir concludes that anarchism is still with us as cultural condition, if not a political one.

A longtime fixture in the New York art scene, Susan Weil has always maintained an adventurous attitude toward material and form even as she continued to paint self-assuredly in both abstract and representational modes. Her mixed media works address the plastic quality of time and space through processes of cutting, crumpling and refiguring her compositions. Weil has influenced many in the Abstract Expressionist movement ¿ especially her ex-husband, Robert Rauschenberg, with whom she collaborated on many projects, most notably the Blueprint paintings of 1950.