...This chapter explores cinematic Xi’an through the lens of flâneur’s street-level observation represented in Huang Jianxin’s two urban features, Back to Back, Face to Face [Beikaobei, Lianduilian] (1994) and Signal Left, Turn Right...

... and the UK has disturbed the exclusionary norms of beauty which underpin what Nicole Fleetwood critically theorises as ‘iconic whiteness’ and which the ‘Marianne of ’68’ perpetuates. As these contemporary photographs and videos also suggest, the face of the crowd, which has preoccupied cinema since its early...

...This chapter explores the affinities between the Gothic mode and Emmanuel Levinas's account of alterity, absolute otherness, responsibility and the ethics of the face-to-face encounter. Commencing with a theoretical discussion of Levinas's conceptualisation of the face of the Other, it proceeds...

..., which means that a whitened face can variously signify that the boy actor is playing the part of a virtuous woman or a whore or a corpse or a ghost or a living woman playing dead or a living woman feigning stoniness. Paint therefore collapses ‘difference’, with serious consequences for social...

...Sarah Kane’s Blasted is one of the most controversial plays written and produced by a British playwright over the last quarter century. A defining contribution to a genre of plays which emerged during the 1990s, and which are variously termed ‘in-yer-face’ and ‘new brutalist...

...This chapter examines publisher B. T. Batsford’s popular ‘English Heritage’ and ‘Face of Britain’ series, focusing on their subject matter, the range of authors commissioned to write for them (including such figures as H. J. Massingham, Dorothy Hartley, S. P. B. Mais, and Edmund Vale), the books...

... Edition, I Want a Famous Face and The Swan, create the impression that one can ‘buy’ whatever one wants. In a post-9/11 cinematic landscape, we must fight to find a path towards reason and understanding of a new cinematic landscape in which violence...

... modernist writing and art in Ireland than has previously been acknowledged. The chapter determines that face was a central figure in the cultural imagination of Ireland, both in the revival and post-independence periods. Foster Roy Gregory Lady Augusta McCormack W J Synge J M Yeats W B Anthropology...

... that face paints, lip colours, wigs, perfumes and other accessories which serve to alter or enhance the external body destroyed divine workmanship. Women of all social backgrounds wore cosmetics in the early modern period. Prostitutes were particularly notorious for their painted faces. Queen Elizabeth I...

...This chapter is concerned with David Wilkie's representation of the human body, face and mind, and also addresses the expressions in Wilkie's pictures, which were often considered the bedrock of his realism. For Wilkie, the role of vision in social life was what was at stake, and this led him...

... as relational and responsible; second, the immediate, pre-conscious and thus non-theoretical nature of responsibility to the face of the Other. However, rather than Levinas as simply offering an ethical starting point the chapter argues for an alternative reading in which the implications of relationality...

.... The newsreel, documentary and essay films from Cuba, Argentina and France through which the chapter tracks Alberto Korda’s and Freddy Alborta’s celebrated stills of the revolutionary (1960 and 1967) and overlapping film footage revitalise the interwar metaphor, I suggest, of the mass face. They also reinforce...

... conjecture to expose what lies beneath this verbal disguise. Both Jonson’s and Shakespeare’s literature share an interest in performativity, acknowledging the impersonated character as inter-subjective, and prompting the audience to participate in deciphering the character from outward appearance and face...

...This chapter considers the blunders, failures, and controversies of Cukor's less successful films: Two-Faced Woman (1941), A Woman's Face (1941), Wild is the Wind (1957), Hot Spell (1958), and Winged Victory (1944...

...Engaging with what both Deleuze and Derrida have written about iterability and repetition, this chapter examines the depiction of love in the Recherche as a complex idealization of a beloved’s conflicting iterations. It explores the shared trope of the face in both Derrida...

.... Seven types of cultural identity are described: identity as standing, as centre, as face, as affiliation, as home, as mission and as mere label; and common errors in assimilating these are noted. Berlin I community cosmopolitanism Herder J G von Kant I Miller D nationalism nationalists Schiller J...

... Vsevolod mise en scène objects Reinhardt Max Stanislavsky Constantin Yeats William Butler faces masquerade and masqueraders museums and exhibition sites Nagy Joseph Falaky Bayard Hippolyte Cadava Eduardo Monks Aoife Nancy Jean Luc paintings drawings lithographs and prints photographs...

...This book celebrates the theatrical excitement and philosophical meanings of human interaction in Shakespeare. On stage and in life, the face is always window and mirror, representation and presence. Essays examine the emotional and ethical surplus that appears between faces in the activity...