Agnès Devictor (41 results)

paperback. Condition: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE PAPERBACK Standard-sized.

Paperback. Condition: new. Paperback. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible.Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country.The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment.The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable. Catalog of an exhibition held at Mucem, November 21, 2019-March 1, 2020. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condition: New. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable.…

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: new.

Softcover. Condition: Bon. Ancien livre de bibliothèque avec équipements. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Ammareal gives back up to 15% of this item's net price to charity organizations.…

Condition: New. 2022. Bilingual. Paperback. . . . . .

Condition: New. 2022. Bilingual. Paperback. . . . . . Books ship from the US and Ireland.

Taschenbuch. Condition: Neu. Neuware -For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable. 144 pp. Englisch.…

Taschenbuch. Condition: Neu. Neuware -For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable. 144 pp. Englisch.…

Soft cover. Condition: New. Dust Jacket Condition: New. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable.…

Paperback. Condition: new. Paperback. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible.Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country.The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment.The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable. Catalog of an exhibition held at Mucem, November 21, 2019-March 1, 2020. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

hardcover. Condition: Fine.

Kartoniert / Broschiert. Condition: New. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability .

soft cover. Condition: fine. first edition. In-8 broché. La plus prestigieuse des revues critiques françaises, à l'origine, entre autres, de la définition de la " politique des auteurs ", dans les années cinquante. Vivier de nombreux critiques, cinéastes, théoriciens, parmi lesquels : André Bazin, Jacques Doniol-Valcroze, François Truffaut, Jean-Luc Godard, Eric Rohmer, Jacques Rivette, Claude Chabrol, Jean Narboni, Jacques Fieschi, Jean-Louis Comolli, Serge Daney. Sommaire : Le bombardement de Nantes par Jean-Pierre Limosin ; Laurent Roth --- Breaking the waves par Marie-Anne Guérin --- Le casque dort par Frank Beau --- Chronique d'une mutation annoncée par Frank Beau --- Cinéma français par Thierry Jousse --- Les combats du cinéma iranien par Agnès Devictor --- Conte d'été pour quatre acteurs par Marie-Anne Guérin --- Le corps banal de l'histoire par Laurent Roth --- Crash par Emmanuel Burdeau --- De la Terre à la Lune. par François Ede --- Des lendemains qui chantent par Thierry Lounas --- Les deux états de la souffrance par Thierry Lounas --- Diabolique par Jean-Marc Lalanne --- Elle par Laurent Le Forestier --- Entretien avec Arnaud Desplechin et Emmanuel Salinger par Emmanuel Burdeau ; Jean-Marc Lalanne ; Frédéric Strauss ; Serge Toubiana --- Entretien avec Diane Baratier et Pascal Ribier par Cédric Anger ; Emmanuel Burdeau ; Thierry Lounas --- Entretien avec Eric Rohmer par Cédric Anger ; Emmanuel Burdeau ; Serge Toubiana --- Entretien avec John Carpenter par Bill Krohn --- Entretien avec Lars von Trier par Stig Bjorkman --- Entretien avec Michael Cimino par Nicolas Saada ; Serge Toubiana --- Goodbye South, goodbye par Cédric Anger --- L' homme exposé par Laurent Roth --- L' interactivité, nouvelle frontière du cinéma par Alain Le Diberder --- L' invention de la charte par François Ede ; Laurent Roth --- Le livre ouvert par Antoine de Baecque --- Loin d'Hollywood par Serge Toubiana --- Looking for Richard par Frédéric Strauss --- Les mains fragiles par Anne Baudry --- Marionnettes sans théâtre par Jean-Louis Comolli --- Nomad's land par Vincent Ostria --- Paysage pendant la bataille par Stéphane Bouquet --- Petit film entre amis par Marie-Anne Guérin --- Petite archéologie de l'immersion par Laurent Mannoni --- La promesse par Emmanuel Burdeau --- Ridicule par Thierry Jousse --- Secrets and lies par Marie-Anne Guérin --- Son : le dernier cri par Vincent Ostria --- Synthèse, mode d'emploi par Vincent Ostria --- Le tombeau des lucioles par Laurent Le Forestier --- Typically british par Marie-Anne Guérin --- Un animal, des animaux par Laurent Roth --- Les voleurs par Frédéric Strauss. …

Taschenbuch. Condition: Neu. Neuware - For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable.…

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Paperback. Condition: Fine. Correct title is "Politique du cinema iranien." It is incorrect at Amazon. Text in French.

Paperback. Condition: New. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable.…

Condition: Very Good.

Condition: As New. Unread book in perfect condition.

Hardback. Condition: New. An intimate portrayal of protest through images during the Syrian warNever before in history has a conflict been so extensively filmed by its own warring parties, generating a wealth of sound and image. From the start of the Syrian revolt in 2011, several million videos were posted online by demonstrators, activists, and militant fighters. Their prime objective was to work around the media blackout imposed by the regime of Bashar al-Assad, as well as its calling into question the size and scope of activism and repression on the ground, by filming the demonstrations, the repression, and the funerals. Use of video quickly diversified to include protest action, testimonies, military defections, combat training, tributes to "martyrs," and live combat.Syria, Revolt and War in the Digital Age explores this vast territory of images and sounds, offering a new approach to understanding the conflict in Syria and, more broadly, it analyzes the new use of images in contemporary conflicts. Based on both digital ethnography and interviews with video-takers on the ground, the contributors identify gestures, grammars, and textures specific to this audiovisual footage that has emerged from different spaces of the conflict rarely studied as a continuum. The contributors to this volume look at images from opposing camps from inside Syria and in the diaspora in order to delve into the specificities of each side's audiovisual practices and cultures, the way these images relate to one another, and how they might render the Syrian revolt and conflict more intelligible.With the world awash in images from conflict zones, this book opens readers' eyes to understanding heretofore neglected aspects of revolt and conflict and proposes new ways of thinking about them.Contributors:Hatem A., Independent worker, Malmo, SwedenEmma Aubin-Boltanski, National Center for Scientific Research (CNRS), Paris, FranceF.B., Independent worker, Strasbourg, FranceErminia Chiara Calabrese, French Institute in the Near East (Ifpo), Beirut, LebanonGiulia Galluccio, National Center for Scientific Research (CNRS) Paris, FranceLucile Irigoyen, Independent worker and filmmaker, Mauleon, FranceShahriar Khonsari, Independent photographer, Tehran, IranCédric Labrousse, The School of Advanced Studies in the Social Sciences (EHESS), Paris, FranceAnna Poujeau, National Center for Scientific Research (CNRS), Paris, FranceChamsy Sarkis, Independent worker, Paris, France.…

Condition: New. In English.

Hardcover. Condition: new. Hardcover. An intimate portrayal of protest through images during the Syrian warNever before in history has a conflict been so extensively filmed by its own warring parties, generating a wealth of sound and image. From the start of the Syrian revolt in 2011, several million videos were posted online by demonstrators, activists, and militant fighters. Their prime objective was to work around the media blackout imposed by the regime of Bashar al-Assad, as well as its calling into question the size and scope of activism and repression on the ground, by filming the demonstrations, the repression, and the funerals. Use of video quickly diversified to include protest action, testimonies, military defections, combat training, tributes to martyrs, and live combat.Syria, Revolt and War in the Digital Age explores this vast territory of images and sounds, offering a new approach to understanding the conflict in Syria and, more broadly, it analyzes the new use of images in contemporary conflicts. Based on both digital ethnography and interviews with video-takers on the ground, the contributors identify gestures, grammars, and textures specific to this audiovisual footage that has emerged from different spaces of the conflict rarely studied as a continuum. The contributors to this volume look at images from opposing camps from inside Syria and in the diaspora in order to delve into the specificities of each sides audiovisual practices and cultures, the way these images relate to one another, and how they might render the Syrian revolt and conflict more intelligible.With the world awash in images from conflict zones, this book opens readers eyes to understanding heretofore neglected aspects of revolt and conflict and proposes new ways of thinking about them.Contributors:Hatem A., Independent worker, Malmo, SwedenEmma Aubin-Boltanski, National Center for Scientific Research (CNRS), Paris, FranceF.B., Independent worker, Strasbourg, FranceErminia Chiara Calabrese, French Institute in the Near East (Ifpo), Beirut, LebanonGiulia Galluccio, National Center for Scientific Research (CNRS) Paris, FranceLucile Irigoyen, Independent worker and filmmaker, Mauleon, FranceShahriar Khonsari, Independent photographer, Tehran, IranCedric Labrousse, The School of Advanced Studies in the Social Sciences (EHESS), Paris, FranceAnna Poujeau, National Center for Scientific Research (CNRS), Paris, FranceChamsy Sarkis, Independent worker, Paris, France Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condition: New.

Hardback. Condition: New. New copy - Usually dispatched within 4 working days.