Bye Bye Babylon


Book Description

In 1975 I was seven years old, and loved the Bazooka bubble-gums my mother would buy for Walid and me in Spinney's supermarket... Beirut in the 1970s is a paradise. Wealthy families ride escalators and fill shopping carts with imported food and luxury products from Paris and New York. Lamia Ziadé, seven years old, dreams of banana splits, American candy, flying on Pan Am Airways and visiting the local cinema. Considered by the elite the 'Paris, Las Vegas or Monaco of the Middle East', Beirut was in reality a powder-keg, waiting for a spark. On 13 April 1975 Lamia and her family returned from lunch in the countryside to find a city in flames. Looking back on the golden days before the war, and its immediate, devastating effects, Bye Bye Babylon positions an elegiac and shocking narrative next to a child's perspective of the years 1975-79: of consumer icons next to burning buildings, scenes of violence and sparkling new weapons painted in vivid technicolour - war as pop. It is both a lament for a home transformed by a destructive madness, and an inventory of the concrete objects of her childhood: the objects, details and fragments of memory which combine to capture the impossible reality of war. Part artist's sketchbook, part travel notebook and part family album, Bye Bye Babylon is a unique graphic memoir, and an important addition to the Cape list.




Bye Bye Babylon


Book Description

Beirut in the 1970s is a paradise. Wealthy families ride escalators and fill shopping carts with imported food and luxury products from Paris and New York. Lamia Ziadé, seven years old, dreams of banana splits, American candy, flying on Pan Am Airways, and visiting the local cinema. Considered by the elite the “Paris, Las Vegas or Monaco of the Middle East,” Beirut was in reality a powder keg, waiting for a spark. On April 13, 1975 Lamia and her family returned from lunch in the countryside to find a city in flames. Looking back on the golden days before the war, and its immediate, devastating effects, Bye Bye Babylon positions an elegiac and shocking narrative next to a child’s perspective of the years 1975–79: of consumer icons next to burning buildings, scenes of violence and sparkling new weapons painted in vivid Technicolor—war as pop. It is a unique graphic memoir, and an important visual record of a terrible war.




Bye Bye Babylon


Book Description




Bye bye Babylon


Book Description




Good-Bye to Babylon


Book Description




The Hotel


Book Description

The Hotel: Occupied Space explores the hotel as both symbol and space through the concept of “occupancy.” By examining the various ways in which the hotel is manifested in art, photography, and film, this book offers a timely critique of a crucial modern space. As a site of occupancy, the hotel has provided continued creative inspiration for artists from Monet and Hopper, to genre filmmakers like Hitchcock and Sofia Coppola. While the rich symbolic importance of the hotel means that the visual arts and cinema are especially fruitful, the hotel’s varied structural purposes, as well as its historical and political uses, also provide ample ground for new and timely discussion. In addition to inspiring painters, photographers, and filmmakers, the hotel has played an important role during wartime, and more recently as a site of accommodation for displaced people, whether they be detainees or refugees seeking sanctuary. Shedding light on the diverse ways that the hotel functions as a structure, Robert A. Davidson argues that the hotel is both a fundamental modern space and a constantly adaptable structure, dependent on the circumstances in which it appears and plays a part.




Bay City Babylon


Book Description

Bay City Babylon tells the story of the unlikely pop phenomenon that was the Bay City Rollers -- from their humble Scottish beginnings to worldwide fame and adulation, and what's happened to them since. It's a classic tale of rock stardom with all the trappings, excesses, anguish, and exhilaration that go with it. Featuring interviews with band members and those that were along for the "Rollermania" ride in the '70s. Plus, many never before published photographs and new "10th Anniversary" chapters that update the BCR story with details of their groundbreaking lawsuit for millions of dollars in unpaid record company royalties and their 2015 reunion.




Contexts of Violence in Comics


Book Description

This book is part of a nuanced two-volume examination of the ways in which violence in comics is presented in different texts, genres, cultures and contexts. Contexts of Violence in Comics asks the reader to consider the ways in which violence and its representations may be enabled or restricted by the contexts in which they take place. It analyzes how structures and organising principles, be they cultural, historical, legal, political or spatial, might encourage, demand or prevent violence. It deals with the issue of scale: violence in the context of war versus violence in the context of an individual murder, and provides insights into the context of war and peace, ethnic and identity-based violence, as well as examining issues of justice and memory. This will be a key text and essential reference for scholars and students at all levels in Comics Studies, and Cultural and Media Studies more generally.




Postcolonial Comics


Book Description

This collection examines new comic-book cultures, graphic writing, and bande dessinée texts as they relate to postcolonialism in contemporary Anglophone and Francophone settings. The individual chapters are framed within a larger enquiry that considers definitive aspects of the postcolonial condition in twenty-first-century (con)texts. The authors demonstrate that the fields of comic-book production and circulation in various regional histories introduce new postcolonial vocabularies, reconstitute conventional "image-functions" in established social texts and political systems, and present competing narratives of resistance and rights. In this sense, postcolonial comic cultures are of particular significance in the context of a newly global and politically recomposed landscape. This volume introduces a timely intervention within current comic-book-area studies that remain firmly situated within the "U.S.-European and Japanese manga paradigms" and their reading publics. It will be of great interest to a wide variety of disciplines including postcolonial studies, comics-area studies, cultural studies, and gender studies.




Muslim Textualities


Book Description

In the first decade of the twenty-first century, Muslim women writers located in Europe and American entered the cultural mainstream. Literary and visual productions negotiated static visual emblems of Islam, most prominently "the veil." They did so not by rejecting veiling practices, but by adapting Muslim resources, concepts and visual tradition to empowerment narratives in popular media. Mainstream reception of their works has often overlooked or misread these negotiations. Muslim Textualities argues for more flexible and capacious interpretation, with particular attention to visibility as a metaphor for political agency and to knowledge of cultural contexts. This provocative volume aims to articulate Muslim female agency through clear and accessible analysis of the theory and concepts driving the interpretation of these works. Scholars interested in the working representations of Muslim women, feminist subjectivities, and the complexities of gender roles, patriarchy, and feminism will find this volume of particular interest.