Search results for "Redmon"
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Family History of George and William Redmon of Pennsylvania and Kentucky
This history of George and William Redmon presents evidence for the Virginia origin of the Redmon family of Kentucky and for the military service of George and William during the Revolutionary War. It also establishes a connection between the Redmons from the counties of Bourbon, Clark, Harrison, and Montgomery by providing proof that the progenitors of these families, George and William Redmon, were brothers who settled on Flat Run in Bourbon County in about 1786. Finally, it lays out the family record of the descendants of George and William Redmon compiled from a variety of documents. The most valuable sources for this purpose have been census data, cemetery records, county marriage records, Kentucky vital statistics (birth and death indexes) and newspaper obituaries.
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Next Generation Adaptation
Contributions by Zoe Bursztajn-Illingworth, Marc DiPaolo, Emine Akkülah Do?ƒan, Caroline Eades, Noelle Hedgcock, Tina Olsin Lent, Rashmila Maiti, Jack Ryan, Larry T. Shillock, Richard Vela, and Geoffrey Wilson In Next Generation Adaptation: Spectatorship and Process, editor Allen H. Redmon brings together eleven essays from a range of voices in adaptation studies. This anthology explores the political and ethical contexts of specific adaptations and, by extension, the act of adaptation itself. Grounded in questions of gender, genre, and race, these investigations focus on the ways attention to these categories renegotiates the rules of power, privilege, and principle that shape the contexts that seemingly produce and reproduce them. Contributors to the volume examine such adaptations as Quentin Tarantino's Death Proof, Jacques Tourneur's Out of the Past, Taylor Sheridan's Sicario and Sicario: Day of the Soldado, Jean-Jacques Annaud's Wolf Totem, Spike Lee's He's Got Game, and Jim Jarmusch's Paterson. Each chapter considers the expansive dialogue adaptations accelerate when they realize their capacity to bring together two or more texts, two or more peoples, two or more ideologies without allowing one expression to erase another. Building on the growing trends in adaptation studies, these essays explore the ways filmic texts experienced as adaptations highlight ethical or political concerns and argue that spectators are empowered to explore implications being raised by the adaptations.
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Rewatching on the Point of the Cinematic Index
Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema’s indexicality is so narrowly defined, the entire nature of film is called into question the moment film no longer relies on a lens-based camera. The presence of digital technologies seemingly strips cinema of its indexical standing. This volume pushes for a broader understanding of the cinematic index by returning to the early discussions of the index in film studies and the more recent discussions of the index in other digital arts. Bolstered by the insights these discussions can offer, the volume looks to replace what might be best deemed a diminished concept of the cinematic index with a series of more complex cinematic indices, the impoverished index, the indefinite index, the intertextual index, and the imaginative index. The central argument of this book is that these more complex indices encourage spectators to enter a process of ongoing adaptation of the reality they see on the screen, and that it is on the point of these indices that the most significant instances of rewatching movies occur. Examining such films as John Lee Hancock’s Saving Mr. Banks (2013); Richard Linklater’s oeuvre; Paul Greengrass’s United 93 (2006); Oliver Stone’s World Trade Center (2006); Stephen Daldry’s Extremely Loud and Incredibly Close (2011); and Christopher Nolan’s Dunkirk (2017), Inception (2010), and Memento (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation.
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Next Generation Adaptation
Contributions by Zoe Bursztajn-Illingworth, Marc DiPaolo, Emine Akkülah Do?ƒan, Caroline Eades, Noelle Hedgcock, Tina Olsin Lent, Rashmila Maiti, Jack Ryan, Larry T. Shillock, Richard Vela, and Geoffrey Wilson In Next Generation Adaptation: Spectatorship and Process, editor Allen H. Redmon brings together eleven essays from a range of voices in adaptation studies. This anthology explores the political and ethical contexts of specific adaptations and, by extension, the act of adaptation itself. Grounded in questions of gender, genre, and race, these investigations focus on the ways attention to these categories renegotiates the rules of power, privilege, and principle that shape the contexts that seemingly produce and reproduce them. Contributors to the volume examine such adaptations as Quentin Tarantino's Death Proof, Jacques Tourneur's Out of the Past, Taylor Sheridan's Sicario and Sicario: Day of the Soldado, Jean-Jacques Annaud's Wolf Totem, Spike Lee's He's Got Game, and Jim Jarmusch's Paterson. Each chapter considers the expansive dialogue adaptations accelerate when they realize their capacity to bring together two or more texts, two or more peoples, two or more ideologies without allowing one expression to erase another. Building on the growing trends in adaptation studies, these essays explore the ways filmic texts experienced as adaptations highlight ethical or political concerns and argue that spectators are empowered to explore implications being raised by the adaptations.
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Constructing the Coens
The films of Ethan and Joel Coen have been embraced by mainstream audiences, but also have been subject to intense scrutiny by critics and cinema scholars. Movies such as Barton Fink, The Hudsucker Proxy, and Raising Arizona represent the filmmakers’ postmodern tendencies, a subject many academics have written about at length. But is it enough to reduce their features as expressions of postmodernism or are there other ways of viewing their work—not only their individual films but their entire output as a collective whole? In Constructing the Coens: From Blood Simple to Inside Llewyn Davis, Allen H. Redmon looks beyond the postmodern sensibilities of every film written and directed by the Coens to find an unexpected range of recurring ideas expressed in and about contemporary film. In this volume, Redmon tackles all of the films in the Coen brothers’ canon by examining—among other topics—narrative coherence in The Man Who Wasn’t There, intertextuality in No Country for Old Men, and sexuality in Burn after Reading and O Brother, Where Art Thou? Additional chapters look at their films through the prisms of gender studies, adaptation studies, and a constructivist sensibility weaved throughout their work. Considering the whole of the Coens’ output, as well as many of the topics being discussed in contemporary film studies, this book challenges viewers to reexamine their initial responses to these movies. By engaging both the familiar and foreign elements in each film, Constructing the Coens will appeal to fans of the brothers’ cinema, but also to students and scholars of film theory, adaptation studies, queer theory, and gender studies.
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For Six Pence a Day
For Six Pence a Day is an exquisitely detailed exposition on the life of the common soldier in the British Army during the Seven Years War, known as the French and Indian War in North America. Contents include food rations, care of equipment, and even recipes. This is the ultimate guide for the French and Indian War historian and reenactor.
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Rewatching on the Point of the Cinematic Index
Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema’s indexicality is so narrowly defined, the entire nature of film is called into question the moment film no longer relies on a lens-based camera. The presence of digital technologies seemingly strips cinema of its indexical standing. This volume pushes for a broader understanding of the cinematic index by returning to the early discussions of the index in film studies and the more recent discussions of the index in other digital arts. Bolstered by the insights these discussions can offer, the volume looks to replace what might be best deemed a diminished concept of the cinematic index with a series of more complex cinematic indices, the impoverished index, the indefinite index, the intertextual index, and the imaginative index. The central argument of this book is that these more complex indices encourage spectators to enter a process of ongoing adaptation of the reality they see on the screen, and that it is on the point of these indices that the most significant instances of rewatching movies occur. Examining such films as John Lee Hancock’s Saving Mr. Banks (2013); Richard Linklater’s oeuvre; Paul Greengrass’s United 93 (2006); Oliver Stone’s World Trade Center (2006); Stephen Daldry’s Extremely Loud and Incredibly Close (2011); and Christopher Nolan’s Dunkirk (2017), Inception (2010), and Memento (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation.
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Beads, Bodies, and Trash
Beads, Bodies, and Trash merges cultural sociology with a commodity chain analysis by following Mardi Gras beads to their origins. Beginning with Bourbon Street of New Orleans, this book moves to the grim factories in the tax-free economic zone of rural Fuzhou, China. Beads, Bodies, and Trash will increase students’ capacity to think critically about and question everyday objects that circulate around the globe: where do objects come from, how do they emerge, where do they end up, what are their properties, what assemblages do they form, and what are the consequences (both beneficial and harmful) of those properties on the environment and human bodies? This book also asks students to confront how the beads can contradictorily be implicated in fun, sexist, unequal, and toxic relationships of production, consumption, and disposal. With a companion documentary, Mardi Gras Made in China, this book introduces students to recording technologies as possible research tools.
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There is Confusion
There Is Confusion (1924) is a novel by Jessie Redmon Fauset. Published to resounding acclaim from such critics as Alain Locke and Montgomery Gregory, There Is Confusion was largely forgotten by the 1930s as the Great Depression and the Second World War shifted national attention away from the writers and artists whose vision defined the Harlem Renaissance. Rediscovered by scholars in the late twentieth century, There Is Confusion is seen as a feminist masterpiece on par with the best of Jane Austen and Edith Wharton. Set in Philadelphia and Harlem, Fauset’s novel traces the lives of three African Americans from childhood to adulthood while situating their experience in the cultural shifts of the early twentieth century. Joanna Marshall is a dancer who longs for recognition. Maggie Ellersley is a beautiful girl who detests her working-class roots. Peter Bye is an ambitious student who hopes to become a surgeon. As they grow up together, their shared dreams are tarnished by romance and competition. As economic opportunity reshapes the African American community, the three friends must redefine their relationships and desires. Moving and plainspoken, There Is Confusion is a novel grounded in history that manages a delicate balance between the personal and the political without losing sight of the characters who live Fauset’s vision. With a beautifully designed cover and professionally typeset manuscript, this edition of Jessie Redmon Fauset’s There Is Confusion is a classic of African American literature reimagined for modern readers.
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There is Confusion
There Is Confusion (1924) is a novel by Jessie Redmon Fauset. Published to resounding acclaim from such critics as Alain Locke and Montgomery Gregory, There Is Confusion was largely forgotten by the 1930s as the Great Depression and the Second World War shifted national attention away from the writers and artists whose vision defined the Harlem Renaissance. Rediscovered by scholars in the late twentieth century, There Is Confusion is seen as a feminist masterpiece on par with the best of Jane Austen and Edith Wharton. Set in Philadelphia and Harlem, Fauset’s novel traces the lives of three African Americans from childhood to adulthood while situating their experience in the cultural shifts of the early twentieth century. Joanna Marshall is a dancer who longs for recognition. Maggie Ellersley is a beautiful girl who detests her working-class roots. Peter Bye is an ambitious student who hopes to become a surgeon. As they grow up together, their shared dreams are tarnished by romance and competition. As economic opportunity reshapes the African American community, the three friends must redefine their relationships and desires. Moving and plainspoken, There Is Confusion is a novel grounded in history that manages a delicate balance between the personal and the political without losing sight of the characters who live Fauset’s vision. With a beautifully designed cover and professionally typeset manuscript, this edition of Jessie Redmon Fauset’s There Is Confusion is a classic of African American literature reimagined for modern readers.
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Comedy: American Style
Comedy: American Style, Jessie Redmon Fauset's fourth and final novel, recounts the tragic tale of a family's destruction - the story of a mother who denies her clan its heritage. Originally published in 1933, this intense narrative stands the test of time and continues to raise compelling, disturbing, and still contemporary themes of color prejudice and racial self-hatred. Several of today's bestselling novelists echo subject matter first visited in Fauset's commanding work, which overflows with rich, vivid, and complex characters who explore questions of color, passing, and black identity. Cherene Sherrard-Johnson's introduction places this literary classic in both the new modernist and transatlantic contexts and will be embraced by those interested in early-twentieth-century women writers, novels about passing, the Harlem Renaissance, the black/white divide, and diaspora studies. Selected essays and poems penned by Fauset are also included, among them ""Yarrow Revisited"" and ""Oriflamme"", which help highlight the full canon of her extraordinary contribution to literature and provide contextual background to the novel.
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Comedy: American Style
Comedy: American Style, Jessie Redmon Fauset's fourth and final novel, recounts the tragic tale of a family's destruction - the story of a mother who denies her clan its heritage. Originally published in 1933, this intense narrative stands the test of time and continues to raise compelling, disturbing, and still contemporary themes of color prejudice and racial self-hatred. Several of today's bestselling novelists echo subject matter first visited in Fauset's commanding work, which overflows with rich, vivid, and complex characters who explore questions of color, passing, and black identity. Cherene Sherrard-Johnson's introduction places this literary classic in both the new modernist and transatlantic contexts and will be embraced by those interested in early-twentieth-century women writers, novels about passing, the Harlem Renaissance, the black/white divide, and diaspora studies. Selected essays and poems penned by Fauset are also included, among them ""Yarrow Revisited"" and ""Oriflamme"", which help highlight the full canon of her extraordinary contribution to literature and provide contextual background to the novel.
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Video Ethnography
Video Ethnography provides a thought-provoking, guided framework to ethnographic filmmaking. It examines how this kind of filmmaking can be a means of approximating, mediating and evoking lived experience. Functioning as a kind of sensory extension of the videographer, video ethnography arises directly out of lived experience as a process of dynamic encounters, mobile situations, and embodied approaches that include senses and choices of the videographer, and the participants of the ethnography. The book will help describe and develop students‘ sensibility and awareness of this crucial aspect of video ethnography, so they can craft their own video ethnographies with a fully conscious awareness of how certain skilled and attuned approaches to audiovisual techniques can help facilitate the fullest and most dynamic encounters possible. This book is suitable for classes in ethnographic filmmaking, video ethnography and visual anthropology / sociology.
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