Laura U. Marks Knihy

The unquenchable thirst of Dracula. The animal lust of Mr. Hyde. The acquiescence of Lewis Carroll's Alice. Victorian literature--with its overtones of prudishness, respectability, and Old World hypocrisy--belies a subverted eroticism. The Victorian Gothic is monstrous but restrained, repressed but perverse, static but transformative, and preoccupied by gender and sexuality in both regressive and progressive ways. Laura Helen Marks investigates the contradictions and seesawing gender dynamics in Victorian-inspired adult films and looks at why pornographers persist in drawing substance and meaning from the era's Gothic tales. She focuses on the particular Victorianness that pornography prefers, and the mythologies of the Victorian era that fuel today's pornographic fantasies. In turn, she exposes what porning the Victorians shows us about pornography as a genre. A bold foray into theory and other forbidden places, Alice in Pornoland reveals how modern-day Victorian Gothic pornography constantly emphasizes, navigates, transgresses, and renegotiates issues of gender, sexuality, and race.

WENN DIE TOTEN ZU DIR SPRECHEN … New York im Jahre 1886. Das Leben der jungen Daphne Byrne ist seit dem Tod ihres Vaters in Finsternis versunken. Auch ihre Mutter trägt schwer an dem tragischen Verlust … und gerät an ein Medium, das von sich behauptet, es könne mit den Toten Kontakt aufnehmen. Daphne ist überzeugt, dass ihre Mutter auf eine Hochstaplerin hereinfällt. Dann aber wird sie selbst auf einmal von einem unheimlichen Jungen verfolgt, den nur sie sehen kann und der Daphne immer mehr in die düstere Welt der Geister und Dämonen zieht … Locke & Key-Erfinder und Bestsellerautor Joe Hill präsentiert historisch-finsteren Horror, inszeniert von der preisgekrönten Bühnen- und TV-Autorin Laura Marks (The Expanse, The Exorcist) und Zeichner-Legende Kelley Jones (BATMAN, SANDMAN). ENTHÄLT: DAPHNE BYRNE 1-6

Grounded in a study of infrastructures for independent and experimental media art in the Arab world and a broad knowledge of hundreds of films and videos, Hanan al-Cinema approaches these works thematically. Topics include the nomadism of the highway, nostalgia for '70s radicalism, a romance with the archive, algorithmic and glitch media, haptic and networked space, and cinema of the body. Marks develops an aesthetic of enfolding and unfolding to elucidate the different ways that cinema can make events perceptible, seek connections among them, and unfold in the bodies and thoughts of audiences. --Publisher description

Tracing the connections—both visual and philosophical—between new media art and classical Islamic art. In both classical Islamic art and contemporary new media art, one point can unfold to reveal an entire universe. A fourteenth-century dome decorated with geometric complexity and a new media work that shapes a dome from programmed beams of both can inspire feelings of immersion and transcendence. In Enfoldment and Infinity , Laura Marks traces the strong similarities, visual and philosophical, between these two kinds of art. Her argument is more than metaphorical; she shows that the “Islamic” quality of modern and new media art is a latent, deeply enfolded, historical inheritance from Islamic art and thought. Marks proposes an aesthetics of unfolding and enfolding in which image, information, and the infinite image is an interface to information, and information (such as computer code or the words of the Qur'an) is an interface to the infinite. After demonstrating historically how Islamic aesthetics traveled into Western art, Marks draws explicit parallels between works of classical Islamic art and new media art, describing texts that burst into image, lines that multiply to form fractal spaces, “nonorganic life” in carpets and algorithms, and other shared concepts and images. Islamic philosophy, she suggests, can offer fruitful ways of understanding contemporary art.

How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? This book offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world. schovat popis

Proposes a revolutionary approach to the interpretation of art, film, and the digital. In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself. These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years—sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists. From this emerges a materialist theory—an embodied, erotic relationship to art and to the world. Marks’s approach leads to an appreciation of the works’ mortal film’s volatile emulsion, video’s fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.  

Ostatni z pięciu albumów kolekcji poświęconej grozie i horrorowi, której pomysłodawcą i jednym z autorów jest Joe Hill, amerykański pisarz specjalizujący się w horrorach i mrocznej fantasy. Nowy Jork, koniec XIX wieku. Umiera ojciec czternastoletniej Daphne, a matka staje się ofiarą spirytystów obiecujących jej nawiązanie kontaktu z duchem męża. Kiedy Daphne usiłuje wyzwolić matkę spod wpływu szarlatanów, poznaje Brata nadprzyrodzoną istotę nawiedzającą ją w snach i na jawie. Czy to demon, czy halucynacja? I czego chce od Daphne? Może zostanie jej sprzymierzeńcem, a może przyniesie jej zgubę? Szykuje się krwawa rozprawa z okultystami dążącymi do celu znacznie straszniejszego niż wykorzystywanie łatwowiernych pogrążonych w żałobie wdów...

The voice from beyond the veil... In the gaslit splendor of late-19th-century New York, rage builds inside 14-year-old Daphne. The sudden death of her father has left her alone with her grief-stricken mother. Emotionally adrift and living outside her means, the widow becomes easy prey for a group of occultists promising to contact her dead husband. While fighting to disentangle her mother from these charlatans, Daphne experiences a genuine supernatural encounter--a strange, insidious presence in her own body. "Brother," a charming entity with unspeakable appetites, visits her in her dreams and whispers in her ear. Soon, Daphne is sharing his terrifying power. A demon? A ghost? Her own hallucination? Daphne can't be sure what Brother is or what he wants. And even if she knew, could she stop him? Would she want to? An unsettling, blood-soaked tale from writer Laura Marks (The Good Fight) and artist Kelley Jones (Batman, The Sandman), Daphne Byrne is part of DC's smash-hit Hill House Comics library, curated by Joe Hill (NOS4A2, Locke & Key). Collects the full six-issue miniseries as well as commentary and behind-the-scenes artwork.