Michael Cramer – författare

Yogi Berra once said, You can observe a lot just by watching. Michael Cramer has been a keen observer of everyday life encountered as he was walking or driving around town, while working, or watching children at play. He describes life as it is, surrounded by the lives of thousands of others, including interactions as well as observations and sharing the reality to which he is a witness.Poetry is the art of taking pictures with words, and these poems are the pictures Cramer has taken while watching life unfold around him. From the jarring images presented in Holy City to the touching memories and warm, loving thoughts of a father in My Child, Cramer captures the images and emotions that inhabit our lives in Vignettes in Paled Light.My ChildHow I long to caress your cheekgaze deep into your eyes, into your heartsee the memories there of time pastthe good and the bad, both joyous and sadthe sporting events, musical presentations, recitals and reviews.Family memories, time sharedwrestling with your siblings, tickling and being tickledthe blessing of your giggles, your laughterthe heart rending experience of your first tearsEvery time you cried

Television has long been a symbol of social and cultural decay, yet many in postwar Europe saw it as the medium with the greatest potential to help build a new society and create a new form of audiovisual art. Utopian Television examines works of the great filmmakers Roberto Rossellini, Peter Watkins, and Jean-Luc Godard, all of whom looked to television as a promising new medium even while remaining critical of its existing practices. Utopian Television illustrates how each director imagined televisions improved or utopianversion by drawing on elements that had come to characterize it by the early 1960s. Taking advantage of the public service model of Western European broadcasting, each used television to realize works that would never have been viable in the commercial cinema. All three directors likewise seized on televisions supposed affinity for information and its status as a usefulmedium, but attempted to join this utility with aesthetic experimentation, suggesting new ways to conceive of the relationship between aesthetics and information. As beautifully written as it is theoretically rigorous, Utopian Television turns to the writing of Fredric Jameson and Ernst Bloch in treating the three directors television experiments as enactments of utopia as method.In doing so it reveals the extent to which the medium inspired and shaped hopes not only of a better future but of better moving image art as well.

Frederic Jameson and Film Theory is the first collection of its kind, it assesses and critically responds to Fredric Jameson’s remarkable contribution to film theory. The essays assembled explore key Jamesonian concepts—such as totality, national allegory, geopolitics, globalization, representation, and pastiche—and his historical schema of realism, modernism, and postmodernism, considering, in both cases, how these can be applied, revised, expanded and challenged within film studies. Featuring essays by leading and emerging voices in the field, the volume probes the contours and complexities of neoliberal capitalism across the globe and explores world cinema's situation within these forces by deploying and adapting Jamesonian concepts, and placing them in dialogue with other theoretical paradigms. The result is an innovative and rigorously analytical effort that offers a range of Marxist-inspired approaches towards cinemas from Asia, Latin America, Europe, and North America in the spirit of Jameson's famous rallying cry: 'always historicize!'.

Frederic Jameson and Film Theory is the first collection of its kind, it assesses and critically responds to Fredric Jameson’s remarkable contribution to film theory. The essays assembled explore key Jamesonian concepts—such as totality, national allegory, geopolitics, globalization, representation, and pastiche—and his historical schema of realism, modernism, and postmodernism, considering, in both cases, how these can be applied, revised, expanded and challenged within film studies. Featuring essays by leading and emerging voices in the field, the volume probes the contours and complexities of neoliberal capitalism across the globe and explores world cinema's situation within these forces by deploying and adapting Jamesonian concepts, and placing them in dialogue with other theoretical paradigms. The result is an innovative and rigorously analytical effort that offers a range of Marxist-inspired approaches towards cinemas from Asia, Latin America, Europe, and North America in the spirit of Jameson's famous rallying cry: 'always historicize!'.