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The reign of Gaston III, Count of Foix and self-proclaimed sovereign Lord of Béarn, stands out as one of the rare success stories of the 'calamitous' fourteenth century. By playing a skilful game of shifting allegiances and timely defiance, he avoided being drawn into the conflicts between his more powerful neighbours - France and English Aquitaine, Aragon and Castile - thus sparing his domains the devastations of warfare. Best known as a patron of the arts, and the author of a celebrated 'Book of the Hunt', Fébus - as he styled himself - also prefigures the eighteenth-century 'enlightened despots' with his effort to centralize government, protect natural resources and promote enterprise. But a sequence of mysterious tragedies - the abrupt dismissal of his wife, the slaying of his only legitimate son - reveal the dark side of the brilliant and enigmatic 'Sun Prince of the Pyrenees'. RICHARD VERNIER is Professor Emeritus of Romance Languages and Literatures, Wayne State University. He is the author of 'The Flower of chivalry: Bertrand du Guesclin and the Hundred Years War'.

Gaston --- Béarn (France) --- France --- Kings and rulers --- Biography. --- History --- Rois et souverains --- Biographies --- Histoire --- Nobility --- Béarn (France) --- Phœbus, Gaston, --- Phébus, Gaston, --- Fébus, Gaston, --- Gaston Fébus, --- Foix, Gaston --- Gaston Phébus, --- Gaston-Phœbus, --- Biarn (France) --- BIOGRAPHY & AUTOBIOGRAPHY / Personal Memoirs. --- Count of Foix. --- Fourteenth Century. --- Gaston Fébus. --- Lord of Béarn. --- Patron of the Arts. --- Political Alliances. --- Socioeconomic Change. --- Sun Prince of the Pyrenees. --- Bearn (France)

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"South Korea in the 1950s was home to a burgeoning film culture, one of the many 'Golden Age cinemas' that flourished in Asia during the postwar years. Cold War Cosmopolitanism offers a transnational cultural history of South Korean film style in this period, focusing on the works of Han Hyung-mo, director of the era's most glamorous and popular women's pictures, including the blockbuster Madame Freedom (1956). Christina Klein provides a unique approach to the study of film style, illuminating how Han's films took shape within a "free world" network of aesthetic and material ties created by the legacies of Japanese colonialism, the construction of US military bases, the waging of the cultural Cold War, the forging of regional political alliances, and the import of popular cultures from around the world. Klein combines nuanced readings of Han's films with careful attention to key issues of modernity, such as feminism, cosmopolitanism, and consumerism, in the first monograph devoted to this major Korean director"--Back cover.

Films, cinema --- Asian history --- Media studies --- Motion picture producers and directors --- Motion pictures --- K9790 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Persons --- History --- Social aspects --- Korea: Performing and media arts -- cinema --- History and criticism --- Han, Hyŏng-mo, --- 한 형모, --- Han, Hyung-mo, --- Han, Hyeong-mo, --- Criticism and interpretation. --- 1950s. --- aesthetic. --- asia. --- cia. --- consumerism. --- cosmopolitanism. --- cultural cold war. --- feminism. --- film culture. --- film style. --- glamorous. --- golden age cinemas. --- han hyung mo. --- japanese colonialism. --- madame freedom. --- material ties. --- modernity. --- popular cultures. --- postwar years. --- regional political alliances. --- south korea. --- study of film style. --- transnational cultural history. --- us military bases. --- women.