561 research outputs found
Letter from Joseph W. Conard to Floyd Schmoe and Beatrice Shipley, American Friends Service Committee, February 28, 1943
No full textLetter from Joseph Conard to Floyd Schmoe and/or Beatrice Shipley, regarding an effort by the American Friends Service Committee to raise 4,000 to send Gordon Hirabayashi's attorney Frank L. Waters to Washington "for furtherance of the case." Conard warns Schmoe and Shipley that "it was not only my own opinion but that of everyone with whom I have spoken that Mr. Walters' presentation was not only poor but pitifully so."The ACLU-Northern California case file records contain legal documents and correspondence pertaining to the case Ex parte Mitsuye Endo (1944), in which the United States Supreme court unanimously ruled that the federal government could not indefinitely detain United States citizens who were loyal to the government. Files include documents related to the Gordon Hirabayashi Supreme Court case Hirabayashi v. United States
Letter from P. A. Conard to John Muir, 1912 Nov 9.
No full textASOCIACION CRISTIANA DE JOVENES DE MONTEVIDEODIRBCTORIOPedro C. Towers: PresidenteDr. Justo Cubild: Vice-PresidenteHerbert P. Coates: Secretario HonorarioJuan P. Etchebarne: Tesorero HonorarioC. W. Bayne Cornelio van Domselaar James PraserFeodoro GieschenJ. Emilio GillardoOtto GretherHermann GroscurthAugusto HoffmannGuillermo IngoldEdwin JonesThos. F. LaneOscar Julio MaggioloFlorencio OchotorenaEnrique F. PrattY. M. C. A. CALLE RINCdN, 413 (ANTES 20)Teléfono: LA URUGUAYA, 1062 (Central)Direcctdn Telcgrafica: YOMECRASCO MITE EJECUTIVOPedro C. Towers, Dr. Justo CubildHerbert P. Coates, Juan F. EtchebarneSECRETARIOS GENERATES F. A. Conard, Eduardo MonteverdeDIRECTOR DE EDUCACI6N FISICAJess T. HopkinsMontevideo………………….de 191and expect to be able to fulfill a dream and ambition oflong standing, that of making a visit to the Great West.In fact, our International Convention is to meet in LosAngeles, and if my plans work out I shall see for the firsttime some of those marvelous beauties and works of Naturewhich you have done so much to make known and loved.With highest esteem,Yours faithfully,P. a. C[illegible]05296https://scholarlycommons.pacific.edu/jmcl/32655/thumbnail.jp
Letter from Joseph W. Conard to Dr. Monroe E. Deutsch, University of California at Berkeley, April 8, 1942
No full textLetter from Joseph W. Conard to Monroe E. Deutch, outlining "the thinking of our group concerning work we might to with students who are being evacuated and who wish to continue their studies."Personal correspondence, organizational records, government documents, publications, and other papers created or collected by Joseph R. Goodman documenting the forced removal and incarceration of Japanese Americans during World War II, as well as organized resistance to incarceration. Included in the collection are records of the Japanese Young Men's Christian Association and the Japanese American Citizens' League in San Francisco, including papers of the Japanese YMCA's executive secretary Lincoln Kanai; Sakai family papers; Goodman's correspondence to and from Japanese American incarcerees, organizations opposing forced removal and incarceration of Japanese Americans, the War Relocation Authority, and others; publications, photographs, and ephemera from the Topaz Relocation Center, where Goodman taught high school; War Relocation Authority records and publications; and newspaper clippings, pamphlets, and reports about forced removal and incarceration created by various government, religious, and civic organizations, in California and nationwide
Morphologie de la vallée de Chamonix et de ses abords
No full textConard Georges. Morphologie de la vallée de Chamonix et de ses abords . In: Annales de Géographie, t. 40, n°226, 1931. pp. 396-410
A chamber of echo : on the post-comics of Ilan Manouach
No full textThis chapter presents the work and trajectory of conceptual comics artist Ilan Manouach. Focusing on points of convergence between theory, practice, and technology, it suggests that Manouach's work experiments with ways of 'withdrawing' or 'undrawing' the traditional author from the body of work in order to produce unsettling experiences that qualify as an expansion, extrapolation, or deviation from comics culture
The Philosophy of Neo-Noir
No full textFilm noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an interplay between darkness and light. Common motifs include crime and punishment, the upheaval of traditional moral values, and a pessimistic stance on the meaning of life and on the place of humankind in the universe. Spanning the 1940s and 1950s, the classic film noir era saw the release of many of Hollywood’s best-loved studies of shady characters and shadowy underworlds, including Double Indemnity, The Big Sleep, Touch of Evil, and The Maltese Falcon. Neo-noir is a somewhat loosely defined genre of films produced after the classic noir era that display the visual or thematic hallmarks of the noir sensibility. The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers. Through the lens of philosophy, Mark T. Conard and the contributors examine previously obscure layers of meaning in these challenging films. The contributors also consider these neo-noir films as a means of addressing philosophical questions about guilt, redemption, the essence of human nature, and problems of knowledge, memory and identity. In the neo-noir universe, the lines between right and wrong and good and evil are blurred, and the detective and the criminal frequently mirror each other’s most debilitating personality traits. The neo-noir detective—more antihero than hero—is frequently a morally compromised and spiritually shaken individual whose pursuit of a criminal masks the search for lost or unattainable aspects of the self. Conard argues that the films discussed in The Philosophy of Neo-Noir convey ambiguity, disillusionment, and disorientation more effectively than even the most iconic films of the classic noir era. Able to self-consciously draw upon noir conventions and simultaneously subvert them, neo-noir directors push beyond the earlier genre’s limitations and open new paths of cinematic and philosophical exploration.
Mark T. Conard, assistant professor of philosophy at Marymount Manhattan College in New York City, is the editor or coeditor of many books, including The Philosophy of Film Noir and The Philosophy of Martin Scorsese.
Conard can fell confident that these terrific essays will be of interest to film enthusiasts, particularly fans of Neo-Noir. Additionally, for those who come to this volume with some background in philosophy, not only will they be pleased to find fellow philosophers offering accessible introductions to philosophical thinkers and ideas but they are sure to increase their understanding of noir, Neo-Noir, and many familiar film titles, as well as more deeply appreciate the ways in which popular film and television offer wide and varied avenues to doing good philosophy. --Kimberly A. Blessing, co-editor of Movies and the Meaning of Life
Much has been written about neo-noir\u27s distinction from classic noir . . . but the 13 new essays in this anthology rejuvenate the discussion. Strongly recommended. --Library Journal
Is Neo-Noir anything more than film noir in technicolor? Taking up such latter-day classics as Chinatown , Blade Runner , and Memento , this volume explores how contemporary filmmakers have taken up the challenge of classic film noir and broadened the genre. In this analysis, even the pastel shades of South Beach take on a dark coloring in Miami Vice . These probing essays locate what is neo in Neo-Noir and thus define it as a postmodern genre. --Paul Cantor, author of Gilligan Unbound: Pop Culture in the Age of Globalizatio
This collection will serve as a terrific interdisciplinary guide through the chaotic, intriguing world of postmodernist thought as it relates to film and philosophy. --Choice, publication of the Association of College and Research Libraries
Much has been written about neo-noir’s distinction from classic noir . . . but the 13 new essays in this anthology rejuvenate the discussion. Conard and his contributors see to it that these essays are accessible to nonacademic readers. --Library Journal
Conrad’s collection provides room for abstract thought through a sustained philosophical engagement with the sub-genre. . . . written in ‘nontechnical language and require no knowledge of philosophy to appreciate or understand.’ --Film-Philosophyhttps://uknowledge.uky.edu/upk_american_popular_culture/1019/thumbnail.jp
The Philosophy of the Coen Brothers
No full textIn 2008 No Country for Old Men won the Academy Award for Best Picture, adding to the reputation of filmmakers Joel and Ethan Coen, who were already known for pushing the boundaries of genre. They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To borrow a phrase from Barton Fink, all Coen films explore “the life of the mind” and show that the human condition can often be simultaneously comic and tragic, profound and absurd. In The Philosophy of the Coen Brothers, editor Mark T. Conard and other noted scholars explore the challenging moral and philosophical terrain of the Coen repertoire. Several authors connect the Coens’ most widely known plots and characters to the shadowy, violent, and morally ambiguous world of classic film noir and its modern counterpart, neo-noir. As these essays reveal, Coen films often share noir’s essential philosophical assumptions: power corrupts, evil is real, and human control of fate is an illusion. In Fargo, not even Minnesota’s blankets of snow can hide Jerry Lundegaard’s crimes or brighten his long, dark night of the soul. Coen films that stylistically depart from film noir still bear the influence of the genre’s prevailing philosophical systems. The tale of love, marriage, betrayal, and divorce in Intolerable Cruelty transcends the plight of the characters to illuminate competing theories of justice. Even in lighter fare, such as Raising Arizona and The Big Lebowski, the comedy emerges from characters’ journeys to the brink of an amoral abyss. However, the Coens often knowingly and gleefully subvert conventions and occasionally offer symbolic rebirths and other hopeful outcomes. At the end of The Big Lebowski, the Dude abides, his laziness has become a virtue, and the human comedy is perpetuating itself with the promised arrival of a newborn Lebowski. The Philosophy of the Coen Brothers sheds new light on these cinematic visionaries and their films’ stirring philosophical insights. From Blood Simple to No Country for Old Men, the Coens’ films feature characters who hunger for meaning in shared human experience—they are looking for answers. A select few of their protagonists find affirmation and redemption, but for many others, the quest for answers leads, at best, only to more questions.
Mark T. Conard is assistant professor of philosophy at Marymount College. He is the series editor of The Philosophy of Popular Culture series and the editor of numerous books, including The Philosophy of Film Noir, The Philosophy of Neo-Noir, and The Philosophy of Martin Scorsese.https://uknowledge.uky.edu/upk_american_popular_culture/1004/thumbnail.jp
Poems by Heinrich Böll Translated
No full textPoems by Heinrich Böll translated by Robert C. Conard in collaboration with Ralph Ley. The translation of My Muse is by Leila Vennewitz and first appeared in Encounter, April 1971 (copyright 1971 by Heinrich Böll and Leila Vennewitz). All poems appear with the permission of their author and his agent Joan Daves. Copyright 1977 by Heinrich Böll
The Philosophy of Film Noir
No full textA drifter with no name and no past, driven purely by desire, is convinced by a beautiful woman to murder her husband. A hard-drinking detective down on his luck becomes involved with a gang of criminals in pursuit of a priceless artifact. The stories are at once romantic, pessimistic, filled with anxiety and a sense of alienation, and they define the essence of film noir. Noir emerged as a prominent American film genre in the early 1940s, distinguishable by its use of unusual lighting, sinister plots, mysterious characters, and dark themes. From The Maltese Falcon (1941) to Touch of Evil (1958), films from this classic period reflect an atmosphere of corruption and social decay that attracted such accomplished directors as John Huston, Alfred Hitchcock, Billy Wilder, and Orson Welles. The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films. Drawing on the work of diverse thinkers, from the French existentialist Albert Camus to the Frankurt school theorists Max Horkheimer and Theodor Adorno, the volume connects film noir to the philosophical questions of a modern, often nihilistic, world. Opening with an examination of what constitutes noir cinema, the book interprets the philosophical elements consistently present in the films—themes such as moral ambiguity, reason versus passion, and pessimism. The contributors to the volume also argue that the essence and elements of noir have fundamentally influenced movies outside of the traditional noir period. Neo-noir films such as Pulp Fiction (1994), Fight Club (1999), and Memento (2000) have reintroduced the genre to a contemporary audience. As they assess the concepts present in individual films, the contributors also illuminate and explore the philosophical themes that surface in popular culture. A close examination of one of the most significant artistic movements of the twentieth century, The Philosophy of Film Noir reinvigorates an intellectual discussion at the intersection of popular culture and philosophy.
Mark T. Conard, assistant professor of philosophy at Marymount Manhattan College in New York City, is the editor or coeditor of many books, including The Philosophy of Martin Scorsese and The Philosophy of Neo-Noir.
A satisfying book, as each of the authors brings a unique perspective to the discussion and they are able to isolate, identify, and explain some of the more subtle aspects of a genre which, on the surface, seems all about gangsters and pretty girls who done somebody wrong. -- Blogcritics
Explores the philosophical underpinnings of movies from the classical noir period and . . . suggests that films aren\u27t noir merely because they share a consistent tone, or certain visual conventions, with the likes of The Maltese Falcon , The Postman Always Rings Twice , and Double Indemnity . -- Boston Globe
The essays work both as solid primers into philosophy, stretching from Aristotle to Schopenhauer, and as lucid excursions into the genre\u27s dark, mean streets. . . . A fascinating, readable, and provocative book. . . . Highly recommended. -- Choice
An intellectually seductive, hard-boiled romp through a world of moral murkiness, femme fatales, and desperately lonely protagonist. -- Eric Bronson, editor of Baseball and Philosophy
The collection aims to achieve two goals: to introduce genuine philosophical problems and film noir characteristics, while providing sufficiently in-depth discussion that those familiar with either philosophical methods or film noir will not find the material too elementary. Although facing a difficult task, Conard has put together a collection that succeeds in both respects. -- Intertexts
Dense and intriguing, the book suggests noir is best perceived as a slightly warped mirror held up to contemporary society. -- Publishers Weekly
An excellent book, giving readers a very good sense of the rich philosophical resources in film noir. -- Thomas Hibbs, author of Shows About Nothing: Nihilism in Popular Culture from t
This collection of essays, delving into the films and elucidating their philosophical depths, is challenging and engaging. Read it and prepare to be provoked. -- Les Reid -- Philosophy Nowhttps://uknowledge.uky.edu/upk_american_popular_culture/1018/thumbnail.jp
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