{"title":"The Film Desk - Books","description":null,"products":[{"product_id":"facing-blackness-paperback-book","title":"Facing Blackness - Paperback Book","description":"\u003cp data-mce-fragment=\"1\" dir=\"auto\"\u003e\u003cspan\u003ePublished by Film Desk Books, 2022\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePerfect bound softcover\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst printing of 1,000 copies\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e129 pages\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6.5x4.75 inches\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" dir=\"auto\"\u003e\u003cspan\u003e“In Facing Blackness, Ashley Clark traces the contours of Bamboozled, guiding readers through Lee’s intricate representation of race, politics, and popular culture. Clark moves beyond straightforward film criticism to situate the film within a complex history of blackness and American entertainment, making a powerful argument for its ongoing relevance and vitality. Thoughtful, rigorous, and witty, Facing Blackness is a thoroughly engaging analysis of this monumental film that is imperative reading for fans of Spike Lee and cinephiles more broadly.” —Racquel Gates, author of Double Negative: The Black Image and Popular Culture\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" dir=\"auto\"\u003e\u003cspan\u003e“The value of Facing Blackness isn’t that Clark renders the film less challenging, but that he has thought through its implications in ways few, if any, have yet attempted. In so doing, he has shown that to understand Lee’s art, one has to deal with Bamboozled. It is, as Clark puts it, ‘the central work in Lee’s canon—the house on fire to which all roads lead.’ Facing Blackness doesn’t extinguish the fire, but rather maps the roads.” —Keith Watson, Slant Magazine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" dir=\"auto\"\u003e\u003cspan\u003e“Clark’s in-depth analysis of Bamboozled brilliantly validates and elucidates the importance of a forgotten cinematic treasure. This is essential reading for anyone interested in black film, black history, or America’s dark past.” —Kaleem Aftab, author of Spike Lee: That’s My Story and I’m Sticking to It\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" dir=\"auto\"\u003eAshley Clark is a writer, critic and film programmer. He was born in London, lives in Jersey City, and works in Manhattan. Facing Blackness, initially published in 2015, is his first book. This revised second edition contains a new foreword.\u003c\/p\u003e","brand":"The Film Desk","offers":[{"title":"Default Title","offer_id":40528705028138,"sku":"BOOK-FACING-BLACKNESS","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0092\/3025\/4180\/products\/facingblacknessbook1.jpg?v=1762198966"},{"product_id":"time-tells-paperback-book","title":"Time Tells - Paperback Book","description":"\u003cp class=\"\"\u003ePublished by Hard Wait Press, 2023\u003cbr\u003eSewn bound softcover with French flaps\u003cbr\u003eFirst edition of 1,000\u003cbr\u003e296 pages\u003cbr\u003e7.5x5.5 inches\u003cbr\u003eIncludes 168 color images\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cem\u003eTime Tells\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a grand study of time, technology, performance, the attention economy, and comedy. Using the cinematic time-jump, \"a numerical shorthand for a fated intermission,\" to weave a narrative of chronopolitics, memoir, and cultural study, Masha Tupitsyn constructs a unique literary and visual phenomenology on the loss of time, presence, and attention in the digital age. Structured into two interlocked inquiries—\u003cem\u003eTime\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eActing\u003c\/em\u003e—\u003cem\u003eTime Tells\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efocuses on the internet to talk about the ethics of presence and attention, comedy to talk about timing and the language of critique, and lying masculinity, the double, and acting to talk about performance and the reign of falsehood. Both volumes intersect to examine our inability to experience coherence and integration in the post-truth era.\u003c\/p\u003e\n\u003cp class=\"\"\u003eIn the first volume, Time, Tupitsyn covers wide-ranging cultural touchstones such as the ’90s TV show\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFelicity\u003c\/em\u003e, Hitchcock’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVertigo\u003c\/em\u003e, Luca Guadagnino’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCall Me by Your Name\u003c\/em\u003e, Joan Didion’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Year of Magical Thinking\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePretty Woman\u003c\/em\u003e, Wong Kar-wai’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e2046\u003c\/em\u003e, David Fincher’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eZodiac\u003c\/em\u003e, Jean-Luc Godard, the Beastie Boys, Wim Wenders, the art of style, memory and music in the post-internet age, and the lost ontology of cinema. Using what Tupitsyn terms “screen-shot criticism,”\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Tells\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emakes innovative critical thinking accessible to anyone interested in American culture today.\u003c\/p\u003e\n\u003cp class=\"\"\u003eAfterword by Felix Bernstein.\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cem\u003e“\u003c\/em\u003eTime Tells\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eis a mesmerizing work about art, life, chronology, and magical thinking. Masha Tupitsyn is a treasure.”—Matt Zoller Seitz\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cem\u003e“Masha Tupitsyn rescues films of our generation from the memory hole to which everything but box office is now consigned. Her writing is intimate and analytical, laced with radiant perceptions about movie stars, memory, and lost time.”—A. S. Hamrah\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cem\u003e“I have been searching for books during the pandemic that will saddle up with me in my middle-aged sorrow. A sorrow having something to do with “before television went online, days of the week mattered.” Books about the state of the global crisis haven’t done it for me. Masha Tupitsyn’s\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eTime Tells\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eis the book I am looking for. I’m keeping that in the present tense to suggest my ongoing and vital relationship to an extraordinarily generous and profound hybrid text and manual that I will keep on hand at all times. As a poet, I am obsessed with how art can sequence events to expand or contract our sense of time. Mid-way through Tupitsyn’s treatise, she has placed one of the brightest and most innovative pieces of film criticism I have ever read. I would teach her writing on the film\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eZodiac\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eas a list poem. She writes, ‘In\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eZodiac\u003cem\u003e, time is forensic.’ I gasped with a little horror and a little joy.”—Stacy Szymaszek\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cem\u003e“The first volume of\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eTime Tells\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eis a passionately cresting dispatch. A bittersweet treatise and cri de coeur that serves as both a critical corrective and meaningful demonstration of accumulation and assemblage in an age of endless End times. It provides much sought succor for someone like myself, who was minted in what this cultural critic calls “the last generation of memory” (1980s). Every encounter I have ever had with the warm-blooded thinker that is Masha Tupitsyn has been enlivening and has always given me much to mull, and this vibratory reading is no different. It has long been high time she was granted an expansive platform for these unfolding volumes.”—Douglas A. Martin,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eAcker, Once You Go Back, and Outline of My Lover\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“I really love\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eTime Tells\u003cem\u003e. It's important and wise and complex and poignant. With a rigorous attention to the assumptions and glitches built into the structures of film, technology, and the human experience of time, Masha Tupitsyn has not only created a form large and varied enough to contain time’s saddest and most terrifying questions, she has set them against each other for the post-digital age. What has happened to time? What has happened to memory? What has happened to faces, emotions, breathing? What are we seeing? What is being done to us? What are we doing to ourselves? What has happened to us? Where did we go? Playful and profound, meditative, and fully engaged with this breathless present, the first volume of Time Tells begins a crucial investigation into what we've lost, what we're still losing, and how to reimagine a contemporary experience of time.”—Stephen Beachy, Glory Hole,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eBoneyard, No Phantom\/No Time Flat\u003c\/p\u003e\n\u003cp class=\"\"\u003eMASHA TUPITSYN is a writer, critic, and multi-media artist. She is the author of several books, most recently\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePicture Cycle\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Semiotexte\/MIT, 2019). Her films include, the 24 hour\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLove Sounds\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2015),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDECADES\u003c\/em\u003e, an ongoing film series,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Musicians\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2022), and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBulk Collection\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2022).\u003c\/p\u003e","brand":"The Film Desk","offers":[{"title":"Default Title","offer_id":40551615660074,"sku":"BOOK-TIME-TELLS","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0092\/3025\/4180\/files\/timetellsbookfront.jpg?v=1762199003"},{"product_id":"le-depays-hardcover-book","title":"Le Dépays - Hardcover Book","description":"\u003cp\u003e\u003cem\u003eBy Chris Marker\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis is the first English language edition of Chris Marker’s 1982 photo-essay, \u003c\/span\u003e\u003cem\u003eLe Dépays\u003c\/em\u003e\u003cspan\u003e. Lovingly adapted from the original design, it features Marker’s own translation astride some of his most exquisite, yet rarely seen, black-and-white photography. Realized over the same years as its film companion, \u003c\/span\u003e\u003cem\u003eSans Soleil\u003c\/em\u003e\u003cspan\u003e, the book traces similar themes—cats and owls and Japan—but without ever leaving Golden-Gai for Guinea-Bissau. Musing among department store maneki-neko and dreamers on the metro, wandering between Tokyo and no-place at all, this is nevertheless a unique glimpse of Marker feeling very much himself and quite at home; that is, delightfully disoriented.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eSewn bound hardcover with dust jacket\u003cbr\u003e88 pages\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e6\" x 8.5\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"The Film Desk","offers":[{"title":"Default Title","offer_id":41711897247786,"sku":"BOOK-LE-DEPAYS","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0092\/3025\/4180\/files\/ledepaysbookfront.jpg?v=1762199363"},{"product_id":"that-bowling-alley-on-the-tiber-hardcover-book","title":"That Bowling Alley on the Tiber - Hardcover Book","description":"\u003cp dir=\"auto\"\u003e\u003cem\u003eBy Michelangelo Antonioni\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e“I’m a director who writes, not a writer.”—Michelangelo Antonioni\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThirty-three richly suggestive stories by Antonioni, that range in length from a single paragraph to several pages. Not stories in the usual sense, these are instead a series of evocative sketches or “narrative nuclei,” each the genesis for a possible future film. Although he ultimately didn’t develop most of these ideas further, encountering them now provides a unique glimpse into Antonioni’s mind and cinematic point of view.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e182 pages\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e8.5\" x 6.25\"\u003c\/strong\u003e\u003c\/p\u003e","brand":"The Film Desk","offers":[{"title":"Default Title","offer_id":42699765579818,"sku":"BOOK-BOWLING-TIBER","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0092\/3025\/4180\/files\/That_Bowling_Alley_on_the_Tiber_Hardcover_Front.jpg?v=1762199920"},{"product_id":"hallelujah-now-hardcover-book","title":"Hallelujah Now - Hardcover Book","description":"\u003cp dir=\"auto\"\u003e\u003cem\u003eBy Terence Davies\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFilmmaker Terence Davies’s only published novel. Includes a selection of Davies’s original poetry, much of it never before published, along with an introduction by Michael Koresky and an afterword by James Dowling.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e“\u003cem\u003eHallelujah Now\u003c\/em\u003e fearlessly uses the novel form to give voice to anxieties that might have been otherwise unportrayable. Many artists who work in other mediums carry literary aspirations; few pull it off with such provocation and undaunted individuality. Davies’s cinema had no comparison, it was a subgenre unto itself, and similarly Davies’s novel feels like nothing less than a pure emanation of the self, beholden to nothing and no one else.” —Michael Koresky, from his introduction.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFrom Robert’s birth into a Catholic family in Liverpool, to his surreptitious sexual escapades and sadomasochistic fantasies, and his final, evocative journey to a nursing home, his life unfolds in a sensational and explicit stream of consciousness. Skillfully depicted in three sections, \u003cem\u003eHallelujah Now\u003c\/em\u003e is a synthesis of memory, of vividly recaptured moments of childhood, of isolation, lust, and adventure. Time past and time present combine to paint a startling picture of a man fighting to accept his sexuality—and his mortality.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e191 pages\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e8.25\" x 6.25\"\u003c\/strong\u003e\u003c\/p\u003e","brand":"The Film Desk","offers":[{"title":"Default Title","offer_id":43659966742570,"sku":"BOOK-HALLELUJAH-NOW","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0092\/3025\/4180\/files\/Hallelujah_Now_Hardcover_Front.png?v=1758932432"},{"product_id":"the-hunger-film-writing-2012-2024-paperback-book","title":"The Hunger: Film Writing, 2012–2024 - Paperback Book","description":"\u003cp dir=\"auto\"\u003e\u003cem\u003eBy Melissa Anderson\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003eThe Hunger\u003c\/em\u003e assembles the best of Anderson’s film writing from, among other outlets, \u003cem\u003eBookforum\u003c\/em\u003e, \u003cem\u003eArtforum\u003c\/em\u003e, the \u003cem\u003eVillage Voice\u003c\/em\u003e, and \u003cem\u003e4Columns\u003c\/em\u003e, where she has been the film editor and lead film critic since 2017.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIncluding not only reviews of contemporary and older movies but also essays devoted to the work of a single performer (such as Candy Darling and Shelley Duvall), \u003cem\u003eThe Hunger\u003c\/em\u003e showcases an exceptional voice in criticism—one that is queer but undoctrinaire, homophilic yet heterodox. The collection concludes with a wide-ranging discussion between Anderson and the critic and scholar Erika Balsom about the role of pleasure and sexuality in writing, assessing stardom in the 21st century, covering repertory cinema in New York City, and the exhilarations that the movies still provide.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e276 pages\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e8\" x 5.5\"\u003c\/strong\u003e\u003c\/p\u003e","brand":"The Film Desk","offers":[{"title":"Default Title","offer_id":43871468945450,"sku":"BOOK-THE-HUNGER","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0092\/3025\/4180\/files\/The_Hunger_Paperback_Front.png?v=1764778989"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0092\/3025\/4180\/collections\/The_Film_Desk_logo_e23640ce-a0da-4a3a-ab83-4f37616d1819.png?v=1787603605","url":"https:\/\/vinegarsyndrome.com\/collections\/the-film-desk-books.oembed","provider":"Vinegar Syndrome","version":"1.0","type":"link"}