By Donald Crafton
The Talkies deals readers an extraordinary examine the time whilst sound used to be a vexing problem for filmmakers and the resource of contentious debate for audiences and critics. Donald Crafton provides a breathtaking view of the talkies' reception in addition to in-depth seems at sound layout in chosen movies, filmmaking practices, censorship, problems with race, and the livid debate over cinema aesthetics that erupted as soon as the films started to communicate.
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Extra resources for The Talkies: American Cinema's Transition to Sound, 1926-1931 (History of the American Cinema, Volume 4)
I feel that the chapters in this volume have made an amazing journey into the major impulses of Das’s work by simultaneously reflecting on her work and on their own work as joined by the desire to keep anthropology as an open-ended endeavor. It is one in which we are privileged to fi nd our own voices in company with those of our interlocutors, respondents, and friends in the field and in the texts we inherit. Like a sutradhar (one who holds the threads of the narration) in Sanskrit drama who invites the audience to enjoy the rasa (aesthetic experience) of the enactment, I now invite the reader to wander through the following chapters and to turn to the concluding interview with Das as well as her concluding chapter as and when she is pleased to do so.
Brandel understands Cavell’s statement as making a claim not on behalf of fully constituted disciplines (philosophy and anthropology) but as constellations that grow out of commensality— contingent, but precious for reasons of that very contingency. The Affinity of Art and Anthropology Das’s writings on art are less known and are offered as solitary meditations, for she does not address disciplinary formations such as art history or visual anthropology (see Das 2009, 2010c, 2010e). Yet Brandel captures something important in the connections he Anthropological Knowing as a Form of Life 19 makes between her understanding of anthropological knowledge and forms of knowing in art.
It requires, at most, an epistemological training but not a transformation of the self (Rabinow 2003: 4–11). It also seems to entail, for the same reason, an eschewal of the question of what difference, if any, suffering actually brings into the world. Thus the power of terms like shahīd, “martyr,” to interfere with our historical narratives, and thus also the maneuvers we typically deploy to skirt such interferences (holding these terms back, putting them in quotation marks, translating them through a rhetoric of humiliation, brainwashing, or false consciousness): a matter of keeping, arguably, a peculiar ethics of pain from bending, as it were, too much the homogeneous, amoral time of modern history.