El bosque erotizado

El presente volumen tiene un significado especial, pues fue en 1898 cuando se exhibieron en México dos desacostumbradas películas de larga duración en una época en la que prácticamente toda la programación estaba constituida por filmes muy cortos: la producción de Enoch J. Rector del encuentro pugilístico entre el estadounidense James J. Corbett y el inglés Robert J. Fitzsimmons, documental de 518 metros de longitud y una duración de 90 minutos, y una Pasión de Cristo que rodó Richard G. Hollaman —presidente del Eden Musée de Nueva York— en la azotea de un gran hotel de la...

A SPECTACULAR COLLECTION OF PHOTOGRAPHS THAT RECORD THE ASTOUNDING BEAUTY, SCALE, AND DIVERSITY OF NINETEEN AFRICAN COUNTRIES. THIS IS A RARE TREAT TAKEN FROM A UNIQUE BIRD'S-EYE VIEW IN A HELICOPTER.

In our modern digital age, the polaroid is already becoming a relic of the past. However, the fleeting moment and the uniqueness of it, lend the polaroid a quality beyond its mere merit as a "good" or "bad" photograph. Like a painting, a polaroid becomes an irreplaceable treasure and object of desire, as only one person may own the original. Perfectly lit and composed, these polaroids are Bitesnich's images in miniature, the painterly sketches for later works of art. Though as with most artists, the sketches ultimately become artworks in themselves. AUTHOR Andreas H. Bitesnich started his...

Nadar, whose real name was Felix Tournachon (1820-1910), was a conspicuous, even astonishing presence in nineteenth-century France. Engaging and quick-witted, he invented himself over and over as a bohemian writer, a journalist, a romantic utopian, a caricaturist, a portrait photographer, a balloonist, an entrepreneur, a prophet of aeronautics. The name "Nadar" was on everyone's lips. Today, it is Nadar's photography that is remembered. His sitters, who were often his friends, included the great men and women of his time: Dumas, Rossini, Baudelaire, Sarah Bernhardt, Daumier, Berlioz, George...