Entertainment Books

Book SynopsisAmerica is Elsewhere provides a rigorous and creative reconsideration of hard-boiled crime fiction and the film noir tradition.Trade ReviewDussere offers new and richly insightful ways of understanding both noir texts themselves and the discourses of authenticity in which they participate and that they have helped constitute. * Christine Photinos, Journal of American Culture *In this lucidly written study, Erik Dussere deftly combines a wide-ranging examination of social and political forces with the detailed textual scrutiny of a range of films and novels to produce an original and illuminating discussion of film noir as an oppositional critique of consumer culture. America Is Elsewhere not only extends our understanding of film noir, but offers a penetrating analysis of post-war American culture. * Andrew Spicer, coeditor of A Companion to Film Noir *America Is Elsewhere provides a rigorous consideration of key texts in hard-boiled and film noir traditions. While other studies have considered these texts in relation to consumption and masculinity, Dussere strikes important new ground by including the crucial and contested postwar concept of authenticity in his examination. The result is a nuanced and creative addition to our study of these works and the period as a whole. * Abigail Cheever, author of Real Phonies: Cultures of Authenticity in Post-World War II America *Table of ContentsAcknowledgments ; Introduction ; i. Authenticity Effects ; ii. Out of the Past, Into the Supermarket ; Part I: Postwar Spaces, Postwar Men ; Ch 1. Last Chance Texaco: Gas Station Noir ; Ch 2. The Publishing Class: Detectives and Executives in Noir Fiction ; Part II: Maps of Conspiracy ; Ch 3. The Gumshoe Vanishes: Conspiracy Film in the Sixties Era ; Ch 4. Flirters, Deserters, Wimps and Pimps: Pynchon's Two Americas ; Ch 5. Black Ops: Ghetto Space and Counterconspiracy ; Part III: Postmodernism and Authenticity ; Ch 6. Postmodern Authenticity, or, Cyberpunk ; Ch 7. The Space of the Clock: The Corporation as Genre in The Hudsucker Proxy ; Conclusion ; Notes ; Bibliography

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Book SynopsisVideo games open portals into fantastical worlds where imaginative play prevails. Sound Play explores the aesthetic, ethical, and sociopolitical stakes of people's engagements with audio phenomena in video games-from sonic violence to synthesized operas, from democratic musical performances to verbal sexual harassment.Trade ReviewAs addictive and energetically conceived as its subject matter, Sound Play enables even non-gamers to navigate the sonic waves and kinetic pleasures of story worlds that challenge us to rethink the complexities of human agency, identity politics, and embodied performance. * Maria Tatar, author of Enchanted Hunters: The Power of Stories in Childhood and editor of The Annotated Brothers Grimm *A major contribution from a bold and brilliant new voice with exceptional interdisciplinary range. Cheng is a serious player: his virtuosic flair is fully matched by his technical rigor and depth of interpretive insight. Sound Play confirms that the New Musicology is truly out of beta. * Kiri Miller, author of Playing Along: Digital Games, YouTube, and Virtual Performance *Compelling from the first page, Sound Play is an engaging and sophisticated study of how audio-whether in the form of music, voices, noises, or effects-crucially shapes our experience of video games, and how gaming deeply informs our engagement with sound. But more than that, William Cheng's excellent new book demonstrates how the interrelation of sound and play in video games challenges us to think deeply about what it means to live in a world in which the virtual and the real are increasingly intertwined. * Mark Katz, author of Capturing Sound: How Technology Has Changed Music and Groove Music: The Art and Culture of the Hip-Hop DJ *Captivating and inspired, probing and nimbly persuasive, playful yet bursting with profound insight, Sound Play is virtually and absolutely indispensable. * Charles Hiroshi Garrett, author of Struggling to Define a Nation: American Music and the Twentieth Century and editor-in-chief of The Grove Dictionary of American Music, 2nd edition *William Cheng tackles the wild west of game audio and conquers it with a combination of academic scrutiny, coupled by a gamer's unadulterated love of the art. Sound Play could very well be a turning point in the history of video game audio: the day when game audio came of age and inherited the mantle of serious art through the lens of scholarly analysis. With Sound Play, game audio finally has the academic credentials it needs to take its place among the other fine arts. * Christopher Tin, Grammy-winning video game music composer *Table of ContentsForeword by Richard Leppert ; Introduction ; Chapter 1: A Tune at the End of the World ; Chapter 2: How Celes Sang ; Chapter 3: Dead Ringers ; Chapter 4: Role-Playing toward a Virtual Musical Democracy ; Chapter 5: The Wizard, the Troll, and the Fortress ; Epilogue ; End Notes ; Works Cited ; Index

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Book SynopsisInteractive Composition empowers readers with the skills and insight needed to compose and perform electronic popular music in a variety of popular styles. This book focuses on the implementation of compositional and production concepts with each chapter culminating in a newly composed piece created by the reader using these concepts.Trade ReviewThe authors' simple and direct approach to teaching how to use these powerful tools within a single environment will empower anyone to experiment with his/her own musical creativity and expressiveness. * Morton Subotnik *Table of ContentsTable of Contents ; Acknowledgments ; Preface ; Chapter 1: Introduction to Interactive Composition ; Chapter 2: Session View ; Chapter 3: Introduction to Max for Live ; Chapter 4: Ambient ; Chapter 5: Pop & Rock Music ; Chapter 6: Electro-acoustic Music ; Chapter 7 - Hip Hop & Trap Music ; Chapter 8 - House Music ; Chapter 9 - Breakbeat/Drum & Bass ; Chapter 10 - Chiptune ; Chapter 11 - Granular Synthesis ; Chapter 12 - Dubstep ; Chapter 13 - Remixing & Loop Sampling ; Chapter 14 - Mastering ; Chapter 15: Analysis of Projects ; Bibliography ; Index

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Book SynopsisThis book reconceives the history and reception of Rhapsody in Blue, freeing it from established narratives and frequently encountered anecdotes. By approaching the Rhapsody as an "arrangement," it shifts emphasis away from a centralized text and from the sole agency of George Gershwin, providing a dynamic and multifaceted reappraisal of this emblematic piece.Trade ReviewA fascinating exploration of the 'active and, at times, surprising life' of an American musical icon. Saturated in original archival research and musical insights, the book offers a vivid, unique account of the Rhapsody as a 'variable idea and not a fixed text'-a savvy approach that opens up fresh ways of hearing and understanding the piece. * Jeffrey Magee, Associate Professor of Music and Theater at the University of Illinois, Urbana-Champaign *Addressing fascinating but little-noticed source material, Arranging Gershwin advances an original thesis that promises to change the way we think about Rhapsody in Blue in particular and the whole question of classical/nonclassical hybridity in general. Moreover, Banagale accomplishes his goal with an accessible, engaging style that draws in the general reader as well as the specialist. * Larry Hamberlin, Middlebury College, author oTin Pan Opera: Operatic Novelty Songs in the Ragtime Era *Table of ContentsCredits ; Acknowledgements ; About the Companion Website ; Introduction: Arranging an Icon ; 1. Complex Compositional Origins: Ferde Grofe and Rhapsody in Blue ; 2. Living Legends: George Gershwin and Rhapsody in Blue ; 3. From Camp to Carnegie Hall: Leonard Bernstein and Rhapsody in Blue ; 4. Rearranging Concert Jazz: Duke Ellington and Rhapsody in Blue ; 5. "It Ain't Necessarily So": Larry Adler and Rhapsody in Blue ; 6. Selling Success: Visual Media and Rhapsody in Blue ; Epilogue: Arranging at Multiple Levels ; Notes ; Bibliography ; Index

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Trade Review"What a delight! Adrian Daub has written the cultural history of a long-neglected and much-maligned medium of musical performance that at one time was cultivated in just about every bourgeois household. If four-hand piano playing regains renewed interest in our own age of mechanical reproduction, we will have Adrian Daub partly to thank." --Thomas Christensen, Professor of Music and the Humanities, University of Chicago "Adrian Daub is a peerless and stimulating exegete of the 'four-handed monster': he brilliantly and meticulously excavates the cultural, social, and aesthetic traces of a vital nineteenth-century musical practice." --Jeffrey Kallberg, Associate Dean for Arts & Letters and Professor of Music History, University of PennsylvaniaTable of ContentsAcknowledgements ; Introduction ; Chapter 1: The Sonic Hearth and the "Piano Plague" ; Chapter 2: Four-Hand Piano Playing between Parlor Music and the Culture Industry ; Chapter 3: "At Best an Intruder, at Worst a Voyeur": Four-Hand Piano Playing and the Family Unit ; Chapter 4: Four-Handed Monsters ; Chapter 5: The Semantics of the Hand ; Chapter 6: Fordist Chords ; Chapter 7: Musical Platonism: Four-Hand Playing Among the Philosophers ; Chapter 8: Kakanian Variations-Four Hands and the Passing of the Nineteenth Century ; Index

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Book SynopsisLandscape of the Now takes readers on a deep journey into the underlying processes and structures of movement improvisation. Based on interviews with Steve Paxton, Simone Forti, Nancy Stark Smith, and others, this book offers the rare opportunity to find some clarity in what is often a complex and confusing creative experience.Trade ReviewDe Spain is a master storyteller. More than that, he is a philosopher who uses his exceptional analytical skills to get to the heart of what defines postmodern improvisation as improvisation. This quest - a personal passion for De Spain - energizes the book. * David Gere, co-editor, Taken By Surprise: A Dance Improvisation Reader *Improvisation is the alchemy of giving form to the present moment. Contained within are essentially master classes in addressing some of the varied mysteries and issues that can emerge from the practice of improvisation. De Spain's book shines a bright light on how these eight groundbreaking artists wrap words around their processes of inquiry and their experiences of the embodied mind in motion. * Eric Handman, Assistant Professor of Dance, University of Utah *I began to read and realized I had started my next dance. De Spain's invitation to your own practice is waiting. De Spain, with his curiosity and engagement, has brought eight master artists to our studio doors. * Bebe Miller, Artistic Director, Bebe Miller Company *Table of ContentsIntroduction ; What and Who ; Section One: Issues ; Agendas ; Tracking ; Verbal/Nonverbal Awareness ; The Audience/Improviser Relationship ; Intentionality ; What is Good? ; The Transpersonal ; Section Two: Resources ; Body ; Movement ; The Senses ; Space ; Time ; Artistic Form ; Images and the Imagination ; Cognitive Skills ; Emotion ; Memory ; Structures ; Attention ; Conclusion ; Appendix ; Suggested Reading ; Index

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Book SynopsisOne of Broadway's foremost music directors emerges from the orchestra pit to tell how the music is put into a musical show. Part descriptive account, part instruction manual, this book offers a unique and invaluable look behind the scenes, from the point of view of the musical chief of staff, the music director.Trade ReviewIf you're interested in the world of musical theater I know you'll enjoy and learn from Joe Church's Music Direction For The Stage: A View From the Podium. * Alan Menken *Table of ContentsIntroduction: The View From The Podium ; Part I: The Music Director: A Job Description ; Chapter 1: Music Direction Yesterday And Today ; Chapter 2: Musical Stage Production ; Chapter 3: Job Opportunities For Music Directors ; Part II: Personnel ; Chapter 4: The Production Team ; Chapter 5: The Creative Team ; Chapter 6: The Music Team ; Chapter 7: The Performers ; Part III: Preproduction ; Chapter 8: Mounting A Production ; Chapter 9: The Music: Assessment And Analysis ; Chapter 10: Arranging For Music Directors ; Part IV: Rehearsals 1: Singers And The Stage ; Chapter 11: Overview Of Rehearsal Process ; Chapter 12: Individual Vocal Rehearsals ; Chapter 13: Ensemble Vocal Rehearsals ; Chapter 14: Rehearsals With Directors And Choreographers ; Chapter 15: Adapting Music To The Production ; Part V: Rehearsals 2: Musicians, Technicians, And The Venue ; Chapter 16: Orchestras And Orchestrations ; Chapter 17: Instrumental Conducting For The Stage ; Chapter 18: From The Studio To The Stage ; Part VI: Performance ; Chapter 19: Conducting In Performance ; Chapter 20: Maintaining A Production And Preserving A Show ; Chapter 21: Working As A Music Director ; Appendix A: Putting It Together ; Appendix B: Bibliography, Suggested Reading, And List Of Musical ; Works Cited

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Book SynopsisGestures of Music Theater explores examples of Song and Dance as performative gestures that entertain and affect audiences. The chapters interact to reveal the complex energies of performativity. In experiencing these energies, music theatre is revealed as a dynamic accretion of active, complex and dialogical experiences.Trade ReviewThis book makes for a very rewarding read: it combines an excellent selection of emerging and established scholars and practitioners' voices and despite its diversity with regard to genre, time, methodology and focus, it is held together firmly by a very specific and timely common research question: how song and dance can be read as performative gestures. The editors and contributors demonstrate vividly how song and dance are not merely the concern of a limited group of musicologists and dance scholars, but are omnipresent in our culture and provide a fascinating prism through which to see and understand human communication. * Dr. David Roesner, University of Kent *This impressive volume offers important new insights on the act of music theatre and the performativity of song and dance. The collection of essays on vocality and physical gesture expands our understanding of how voices and bodies can be located in multiple theatrical contexts. * Dr. William A. Everett, University of Missouri-Kansas City *Table of ContentsIntroduction: Singing the Dance, Dancing the Song ; Chapter 1: The Song's the Thing: Capturing the "Sung" to Make it "Song" ; Chapter 2: The (Un)Pleasure of Song: On the Enjoyment of Listening to Opera ; Performativity as Dramaturgy ; Chapter 3: Relocating the Song: Julie Taymor's Jukebox Musical Across the Universe (2007) ; Chapter 4: Dynamic shape: the Dramaturgy of Song and Dance in Lloyd Webber's Cats (1981) ; Performativity as Transition ; Chapter 5: Dance Breaks and Dream Ballets: Transitional Moments in Musical Theater ; Chapter 6: "Love Let Me Sing you": The Liminality of Song and Dance in La Chiusa's Bernarda Alba (2006) ; Performativity as Identity ; Chapter 7: Tapping the Ivories: Jazz and Tap Dance in Jelly's Last Jam (1992). ; Chapter 8: Everything's Coming up Kurt: the Broadway Song in Glee ; Chapter 9: Angry Dance: Postmodern Innovation, Masculinities and Gender Subversion ; Performativity as Context ; Chapter 10: Deconstructing the Singer: the Concerts of Laurie Anderson ; Chapter 11: Singing and a Song: The "Intimate Difference" in Susan Philipsz's Lowlands (2010) ; Chapter 12: Acting Operatically: Body, Voice and the Actress in Beckett's Theater ; Performativity as Practice ; Chapter 13: Vox Elettronica: Song, Dance and Live Electronics in the Practice of Sound Theater ; Chapter 14: From Ear to Foot: How Choreographers Interpret Music ; Chapter 15: Singing from Stones: Physiovocality and Gardzienice's Theater of Musicality ; Performativity as Community ; Chapter 16: Singing the Community: the Musical Theater Chorus as Character ; Chapter 17: Singing and Dancing Ourselves: The Politics of the Ensemble in A Chorus Line (1975) ; Performativity as Writing ; Bibliography ; Index ; Bibliography

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Book SynopsisList of Tables List of Figures and Illustrations Acknowledgements Introduction Why Study Mass Media Portrayals of Men and Male Identity? How Feminism Shapes Academic and Media Discourse on Men and Male Identity The New Focus (or Lack of Focus) on Men and Masculinity The Role and Effects of Mass Media in Modern Societies Men in the Media - A Review 1980-2001 Men in the Media Today - A Contemporary Study The Ongoing International Media Debate on Men Personal, Social and Political Implications Appendices References IndexTable of ContentsList of Tables List of Figures and Illustrations Acknowledgements Introduction Why Study Mass Media Portrayals of Men and Male Identity? How Feminism Shapes Academic and Media Discourse on Men and Male Identity The New Focus (or Lack of Focus) on Men and Masculinity The Role and Effects of Mass Media in Modern Societies Men in the Media - A Review 1980-2001 Men in the Media Today - A Contemporary Study The Ongoing International Media Debate on Men Personal, Social and Political Implications Appendices References Index

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Book SynopsisThis is the first book to explore all central issues surrounding the relationship between the film-image and philosophy. It tackles the work of particular philosophers of film (Žižek, Deleuze and Cavell) as well as general philosophical positions (Cognitivist and Culturalist), and analyses the ability of film to teach and create philosophy.Trade Review'In this engaging, comprehensive, incisive work, Mullarkey addresses whether film can philosophize on its own, adding something original, rather than simply illustrating concepts that philosophers extract from their own discourse An indispensible work for students/scholars in philosophy of film/art, aesthetics, and film studies.' D.W.Rothermel, CHOICE '...addresses the question of the relation between art and philosophy - the age-old problem of aesthetics - in an entirely original manner by examining how film changes the terms of this debate.' '...to summarize Mullarkey's text in terms of his criticism of other film theorists does not do justice to the intricate readings and impressive scope of Mullarkey's overall approach. His engagement with figures such as Jacques Rancière, Edward Branigan, Joseph Anderson, Badiou, and Cavell (to name a few) lead him to fascinating 'partial' observations on the nature of film.' 'The gesture Mullarkey employs - a graceful, seamless move from critical analysis to constructive observation - suggests a pluralistic strategy based on an ethics of affirmation and acknowledgement.' '...as a treatment of the question 'what does film mean for philosophy?', Mullarkey offers an intricate and considered study - with important consequences for philosophy in terms of what can be said, and what may be gestured to only by attention to what is left unsaid - that is to say, through a constellation of plural and variably flawed refractions.' - Amanda Dennis in The International Journal for Philosophical Studies 'This book, in some sense, brings to an end a certain phase of film theorizing and instead looks toward something quite new: how theories have been written and how they may be written, how they fall into types, how these types are filling out not a logical grid but a grid of the anxieties we feel, and the defenses we erect toward the everyday. A wonderful, ground-breaking book.' - Edward Branigan (University of California, Santa Barbara), author of Projecting a Camera: Language-Games in Film Theory and Narrative Comprehension and Film 'Highly original both in its concern for avoiding the illustrative approach generally favoured by philosophers, and in the speculative ambition that looms behind the critical edge of its readings of contemporary film- philosophers. The very question "when does the film itself happen?" is a fundamental one, which is rarely addressed. Mullarkey is opening the door to a brand new type of philosophical engagement with films.' - Elie During (Université de Paris X-Nanterre), author of Matrix: Machine philosophique 'Mullarkey brings an informed, critical view to a number of theories from both the Continental tradition (his specialization) and the Anglo-American tradition...Refractions of Reality is an original and valuable contribution to the field of film philosophy...It is perhaps most valuable in its highly successful dislocation of the rigid, myopic perspective of so many contemporary theories' - Joseph Mai, Notre Dame Philosophy ReviewsTable of ContentsAcknowledgements Preface: The Film-Envy of Philosophy Introduction: Nobody Knows Anything! Illustrating Manuscripts Bordwell and Other Cogitators Žižek and the Cinema of Perversion Deleuze's Kinematic Philosophy Cavell, Badiou, and Other Ontologists Expanded Cognitions and the Speeds of Cinema Fabulation, Process and Event Refractions of Reality Or, What is Thinking Anyway? Conclusion: Code Unknown - A Bastard Theory for a Bastard Art Notes Bibliography Index

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Book SynopsisForeword by Pete Seeger Introduction: Music, Memory, and History 1. Freedom After 'While: Life and Labor in the Jim Crow South 2. Raggedy, Raggedy Are We: Sharecropping and Survival 3. The Planter and the Sharecropper: The Southern Tenant Farmers Union 4. There Is Mean Things Happening in This Land: Terror in Arkansas 5. Join the Union Tonight: Interracial Organizing in Missouri 6. Getting Gone to the Promised Land: California 7. I'm So Glad to be Here Again: The Return of John HandcoxTrade Review“In Sharecropper’s Troubadour, Michael Honey has deftly recovered the remarkable story of John Handcox. Honey provides a powerful and compelling account that takes Handcox’s personal and family story and intertwines it with the STFU’s fight against the racism and economic exploitation of southern sharecropping. … By using oral history, Honey allows the rich and deep nuances of the personal perspective that makes history so compelling to rise to the fore. … Sharecropper’s Troubadour is an outstanding work.” (Scott Holzer, Missouri Historical Review, Vol. 110 (4), July, 2016)Table of ContentsForeword by Pete Seeger Introduction: Music, Memory, and History 1. Freedom After 'While: Life and Labor in the Jim Crow South 2. Raggedy, Raggedy Are We: Sharecropping and Survival 3. The Planter and the Sharecropper: The Southern Tenant Farmers Union 4. There Is Mean Things Happening in This Land: Terror in Arkansas 5. Join the Union Tonight: Interracial Organizing in Missouri 6. Getting Gone to the Promised Land: California 7. I'm So Glad to be Here Again: The Return of John Handcox

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Book SynopsisHijikata Tatsumi's explosive 1959 debut Forbidden Colors sparked a new genre of performance in Japan - butoh: an art form of contrasts, by turns shocking and serene.Trade Review“The newly published paperback edition of Bruce Baird’s … is perfectly timed to ride the current wave of interest in butoh. … Baird provides detailed descriptions of all of Hijikata’s dances, including quotations from primary sources and records, and with photographs throughout.” (William Andrews, The Japan Times, japantimes.com, May, 2016)"The book is a veritable treasure trove of information and reflects the many years it took to complete the project . . . it is also a book which rewards the curious reader who wants to learn about postwar Japan from a different perspective." - Tokyo Notice Board "A meticulously researched description and analysis of Hijikata's most significant choreographic and textual productions . . . Hijikata Tatsumi and Butoh is a major contribution to the Anglophone literature on butoh, particularly through its extensive referencing and explication of archival materials and texts not available outside of Japan. For scholars of postwar avant-garde Japanese arts, Baird's work brings dance fully into the conversation, particularly with literature and visual art. For butoh dancers, this book is significant for the way Baird challenges the mystification and mythologizing that has grown up around Hijikata (and was indeed often generated by Hijikata himself) . . . Baird presents his readers with the many socially constructed layers of Hijikata that influenced and were reflected in his productions (e.g., the Tohoku of his childhood, Tokyo in the 1960s and 1970s, Japanese and European surrealists and avant-garde artists), while leaving open the possibility of other interpretations. This openness to interpretation is Hijikata Tatsumi and Butoh's greatest gift." - Asian Theater Journal "Baird's Hijikata Tatsumi and Butoh offers English-language readers the single most rigorous treatment of Hijikata's work to date, with a meticulous examination of Hijikata's major works from the late 1950s to the 1970s." - Monumenta Nipponica"The book is a veritable treasure trove of information . . . which rewards the curious reader who wants to learn about postwar Japan from a different perspective." - SFAQ: San Francisco Arts Quarterly Table of ContentsIntroduction: And, And, And Outline of the Book Forbidden Eros and Evading Force: Hijikata's Early Years A Story of Dances that Sustain Enigma Pivoting Panels and Slashing Space: Rebellion and Identity My Mother Tied Me on Her Back: Story of Smallpox The Possibility Body: Embodying the Other, Negotiating the World Metaphorical Miscegenation in Memoirs: Hijikata Tatsumi in the Information Age Epilogue: The Emaciated Body in the World

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Book SynopsisJEN HARVIE isProfessor of Contemporary Theatre and Performanceat Queen Mary, University of London, UK.She is co-editor of the Theatre& series, author of Staging the UK (2005), co-author ofThe Routledge Companion to Theatre and Performance (2006) and co-editor of Making Contemporary Theatre (2009).

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Book SynopsisERIN HURLEY is Assistant Professor of Drama and Theatre at McGill University, Canada. She won the NeMLA Book Prize for National Performance: Representing Quebec from Expo 67 to Céline Dion. ANNE BOGART is the Artistic Director of the SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is a Professor at Columbia University where she runs the Graduate Directing Program. Works with SITI include Antigone, Under Construction, Freshwater, Who Do You Think You Are, Radio Macbeth; Hotel Cassiopeia; Death and the Ploughman; La Dispute; Score; bobrauschenbergamerica; Room; War of the Worlds; Cabin Pressure; The Radio Play; Alice's Adventures; Culture of Desire; Bob; Going, Going, Gone; Small Lives/Big Dreams; The Medium; Noel Coward's Hay Fever and Private Lives; August Strindberg's Miss Julie; and Charles Mee's Orestes. She is the author of three books: A Director Prepares, The Viewpoints Book and And Then, You Act.

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Book SynopsisHELEN NICHOLSON is Reader in Drama and Theatre at Royal Holloway, University of London, UK,where she specializes in Applied Drama and Contemporary Theatre. She is editor of the journal RIDE: The Journal of Applied Theatre and Performance and author of Applied Drama (Palgrave Macmillan 2005).

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Book SynopsisNADINE HOLDSWORTH is Associate Professor of Theatre and Performance Studies at the University of Warwick, UK. She is the author of Joan Littlewood and co-editor of The Blackwell Companion to Contemporary British and Irish Drama (with Mary Luckhurst).

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Book SynopsisJULIET RUFFORD has held research and teaching posts at the Victoria & Albert Museum, and Queen Mary, University of London, UK.She has co-convened the International Federation of Theatre Research's Theatre Architecture Working Group since 2010, and she was an artist contributor to the 2011 Prague Quadrennial of Performance Design and Space and to the 2012 Venice Architecture Biennale. Her research interests span theatre, performance, the politics of space and the performativity of architecture and the object-world.Trade Review'Theatre & Architecture is a really rich resource. This short book is full of ideas, glancing between the opposing mirrors of theatre and architecture. A beautifully structured and wonderfully clear introduction to acknowledged areas of theory and practice that is brimming with ideas for further exploration. Rufford creates an excellent rapport with her reader, summarising complex areas deftly and handling a wealth of material in a way that is at once precise, astute and eminently readable.' - Cathy Turner, University of Exeter, UKTable of ContentsSeries Editors' Preface Introduction Architecture and Mimesis From Event-space to Space Acts Theatre, Architecture and Illusion Theatre and the Tectonic Conclusion Further ReadingIndex Acknowledgements.

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Book SynopsisDEIRDRE HEDDON is Professor of Theatre Studies at the University of Glasgow, UK. She has published extensively in the field of contemporary performance practice and is the co-editor, with Jennie Klein and Nikki Milican, ofThe National Review of Live Art: 1979-2010, a personal history(New Moves International, 2010). Her monograph,Autobiography and Performancewas published in 2008, andDevising Performance: A Critical Historyin 2005 (both Palgrave). JENNIE KLEIN is Associate Professor of Contemporary Art History at Ohio University, USA. She is the editor ofLetters from Linda M. Montano(Routledge, 2005), the co-curator (Rebecca McGrew) ofThe 21st Century Odyssey Part II: The Work of Barbara T. Smith(2005), and the co-editor (Myrel Chernick) ofThe M Word: Real Mothers in Contemporary Art(Demeter Press, 2011). She is a contributing editor forPAJ, Genders, and Art Papers.Trade Review'A comprehensive treatment of the key issues in the history of performance practice. This book provides a much needed overview of the field as it has developed over the last half century. Heddon and Klein are to be congratulated for having instigated and compiled a coherent anthology made of autonomous and yet mutually enhancing components.' - Laurie Beth Clark, University of Wisconsin, USATable of ContentsIntroduction: Writing Histories and Practices of Live Art; D.Heddon Developing Live Art; J.Klein The Time of Live Art; B.Hoffman Art, Meeting and Encounter: The Art of Action in Great Britain; R.Hunter & J.B.Hunter Site: Between Ground and Groundlessness; S.Hodge & C.Turner Intimacy and Risk in Live Art; D.Johnson All Together Now: Performance and Collaboration; C.Macdonald The Politics of Live Art; D.Heddon Bibliography Index.

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Book SynopsisIntroduction PART I: POETRY Sylvia Plath, Ariel (1965) and Other Poems W. D. Snodgrass, The Fuehrer Bunker (1995) PART II: POPULAR MUSIC American Punk: Ramones, Ramones (1976) English Punk: Sex Pistols, Never Mind the Bollocks , Here's the Sex Pistols (1977) and The Great Rock 'n' Roll Swindle (1979) Post-Punk: Joy Division, Closer (1980) Post-Punk Rock: Manic Street Preachers, The Holy Bible (1994) PART III: FILM Night and Fog (Alain Resnais, 1955) Shoah (Claude Lanzmann, 1985) The Grey Zone (Tim Blake Nelson, 2001) Inglourious Basterds (Quentin Tarantino, 2009) IndexTrade Review"'Holocaust piety' is the urge to be silenced by the genocide, to mystify it. In contrast, Boswell, one of a new generation of Holocaust scholars, writes about how the Holocaust has been used (and possibly misused) in culture from avant-garde poetry to the Ramones and Joy Division to Quentin Tarantino. These insightful 'impieties' tell us about the Holocaust and ourselves." -Robert Eaglestone, Professor of Contemporary Literature and Thought, Royal Holloway, Times Higher Education 'This book is highly recommended for those interested in the most recent developments in the discussion about Holocaust representability. The thesis of Holocaust impiety proposed by Boswell brings an important contribution to the field of Holocaust memory and representation, and situates this author within a new generation of scholars who are unafraid to pose challenging and worthwhile questions.' - Diana Popescu, University of Southampton, Journal of History and CulturesTable of ContentsIntroduction PART I: POETRY Sylvia Plath, Ariel (1965) and Other Poems W. D. Snodgrass, The Fuehrer Bunker (1995) PART II: POPULAR MUSIC American Punk: Ramones, Ramones (1976) English Punk: Sex Pistols, Never Mind the Bollocks , Here's the Sex Pistols (1977) and The Great Rock 'n' Roll Swindle (1979) Post-Punk: Joy Division, Closer (1980) Post-Punk Rock: Manic Street Preachers, The Holy Bible (1994) PART III: FILM Night and Fog (Alain Resnais, 1955) Shoah (Claude Lanzmann, 1985) The Grey Zone (Tim Blake Nelson, 2001) Inglourious Basterds (Quentin Tarantino, 2009) Index

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Book SynopsisDOMINIC JOHNSON is Lecturer in Drama in the Department of Drama, Queen Mary, University of London, UK. He is the author of Glorious Catastrophe: Jack Smith, Performance and Visual Culture (2012). He is a performance artist himself, and has performed at venues and festivals in the UK and internationally.Trade Review'Contemporary examples are extremely well-selected and illustrate important aspects of the visual and their political provocations in contemporary performance practice.' - Christopher Baugh, Professor of Theatre, University of Hull, UKTable of ContentsSeries Editors' Preface Foreword Introduction PART I: HISTORIES OF LOOKING PART II: WORDLESS SPECTACLE PART III: THE PLEASURES AND PAINS OF LOOKING EPILOGUE: THE SHOCK OF THE NEW Further Reading.

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Book SynopsisBased on new archival research, this book uniquely presents a fresh interrogation of how, among London's fashionable society, dancing in the late nineteenth and early twentieth centuries was variously a means of social modelling, change, conformity and creative individual expression.Trade Review'The strength of this book lies in the variety of facets of social dance in the late Victorian/early twentieth century which it addresses. This range of content culminates in a rich picture of time, place, people, their dances and their dancing.' - Alexandra Carter, Emeritus Professor in Dance Studies, University of Middlesex, UKTable of ContentsAcknowledgements Preface List of Illustrations Contents PART I: SOCIETY DANCES Fashionable Bodies and Society Dancing Fashioning Dance Histories The Seasonal Round Public Spaces Late Victorian Repertoire Anarchy in the Ball Room PART II: FASHIONING GENTILITY A Noble Profession Temples of Terpsichore The Fashioning of Ladies Modelling the Lady Where are our Men? Dancing Dogs and Manly Men PART III: MODERN MOVES Moving into the Twentieth Century Modernizing Terpsichore Civilization Under Threat Knuts and Aliens Civilizing from the Centre Looking Back, Moving On Notes Bibliography Index

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Book SynopsisA renewed interest in nature, the ancient Greeks, and the freedom of the body was to transform dance and physical culture in the early twentieth century. The book discusses the creative individuals and developments in science and other art forms that shaped the evolution of modern dance in its international context.Trade Review'Foregrounding the work of the British 'natural movement' pioneers, whilst enlivening concepts of 'the natural' and 'natural movement' as they exist within a range of contexts, this exciting collection makes an important contribution to the field of dance studies. Intersecting detailed studies of a range of movement practices with historical and contemporary discourse the book is interdisciplinary in approach and will be of interest to a broad range of readers. Thoroughly enjoyable.'- Vida L Midgelow, University of Northampton, UKTable of ContentsList of Illustrations Acknowledgements Notes on Contributors Nature, Force and Variation; R.Fensham Constructing and Contesting the Natural in British Theatre Dance; A.Carter Ideas of Nature, the Natural and the Modern in Early Twentieth-CenturyDance Discourse; M.Huxley & R.Burt The Ancient Greeks and the 'Natural'; F.Macintosh From the Artificial to the Natural Body: Social Dancing in Britain 1900-1914; T.Buckland Dancing Based on Natural Movement; M.A.Johnstone & M.Atkinson Undressing and Dressing Up: Natural Movement's Life in Costume; R.Fensham Nature Moving Naturally in Succession: An Exploration of Doris Humphrey's Water Study ; L.Main Tensing and Relaxing Naturally: Systematic Approaches to Training the Body; S.Foster 'Female Nature', Body Culture and Plastique ; K.Vedel Tethering the Flow: Dialogues between Dance, Physical Culture and Antiquity in Interwar Australia; A.Card Mining Anatomy: Moving Naturally; L.Worth Index

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Book SynopsisTRISH REID is Deputy Head of the School of Performance and Screen Studies at Kingston University, UK. She is the author of a number of articles and chapters on contemporary Scottish theatre, including 'Post Devolutionary Theatre' in The Edinburgh Companion to Scottish Drama and 'Anthony Neilson' in Modern British Playwriting: the 1990s.

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Book SynopsisCoates presents the face in film as a place where transformations begin, reflecting both the experience of modernity and such influential myths as that of Medusa. This is exemplified by a wide range of European and American films, including Ingmar Bergman's Persona .Trade Review'Sharing Barthes' and Bergman's premise that the human face remains central to cinematic art, Coates' new book draws on film theory, philosophy, art history, and cultural studies to produce fresh, startling insights on the films that truly matter. The range of examples is as impressive as the erudition.' - Lloyd Michaels, Allegheny College, USATable of ContentsAcknowledgements Introduction Faces and 'Faciality' The Fate of Contemplation: Closeness and Distance Masks and Metaphor: Doubles and Animals Invisibility, Medusa, and the Mask Dissonance and Synthesis: Persona, the Face, the Mask and the Thing Works Cited Index

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Book SynopsisJON DAVISON is Visiting Lecturer at Central School of Speech and Drama in London, UK where he was formerly Creative Fellow investigating Clown/Actor Training. He has been a clown, teacher, director, actor and writer for the last 30 years. He is a co-founder of the Escola de Clown de Barcelona in Spain, where he developed the first ever Clown History and Theory unit. He is also a member of the World Parliament of Clowns.

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Book SynopsisPETER KRÄMERis a Senior Lecturer in Film Studies at the University of East Anglia, UK. He is the author of 2001: A Space Odyssey in the BFI Film Classics series (2010) and The New Hollywood: From Bonnie and Clyde to Star Wars (2005).Trade Review'This is a remarkable and highly unusual book. Kramer turns aside from the endlessly repeated queries about whether a film like A Clockwork Orange might 'cause people to go out and rape', and asks instead: how does this film participate in that very debate? What philosophy of human nature drove Kubrick to construct the film? Kramer takes us into the film's detailed construction, so we can judge its contribution for ourselves.' - Martin Barker, Aberystwyth University, UK 'A well-constructed and easy to follow journey through the film's themes, production and reception...a real passion for cinema is evident (as you might expect from a film lecturer and an established film author) - Kramer's selection and analysis of 'key' scenes lets us know this is more than a solid piece of research. He is not just familiar with this film, he is in tune with it...the book isbalanced, fair and in-depth. Peter Kramer is the ultimate tour guide on a walk through the film's motivations, making eventual consequences. It's a must have for any fans of the film; anyone who ever wondered if it's ok to enjoy it; or anyone who wants to understand how such a twisted tale can have such mass appeal.' - Lauren Felton, Filmwerk 'Does the world really need another book on Stanley Kubrick's A Clockwork Orange (1971)? Perhaps not, but the world of film and media definitely needs Peter Kramer's new book on it. Published as part of the Controversies series edited by Julian Petley and Stevie Simkin, this book is a detailed case study of Kubrick's stylish and endlessly-discussed 1971 offering...By effectively demonstrating the many different strands of film and media studies analysis which can be utilised when studying a particular text, Kramer offers a great blueprint which students could use to structure their own work.' - British Universities Film and Video Council 'Both books throw out so many insights and new ideas concerning these two examples of cinema maudites that they are studies valuable both to cineastes and students of the way in which popular culture works. This is proving to be a most valuable series.' - Crime Time, on Straw Dogs and A Clockwork OrangeTable of ContentsContents Introduction Synopsis PART I: PRODUCTION HISTORY PART II: MARKETING AND RECEPTION I: THE US CONTROVERSY PART III: MARKETING AND RECEPTION II: THE UK CONTROVERSY PART IV: KEY THEMES AND IDEAS PART V: KEY SCENE ANALYSIS PART VI: THE LEGACY OF A CLOCKWORK ORANGE Appendices Bibliography.

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Book SynopsisMary F. Brewer is Senior Lecturer in English and Drama at the University of Loughborough, UK. She is the author of Race, Sex and Gender in Contemporary Women's Theatre and Staging Whiteness, and editor of Exclusions in Feminist Thought: Challenging the Boundaries of Womanhood and Harold Pinter's The Dumb Waiter.Lynette Goddard is Senior Lecturer in Drama and Theatre at Royal Holloway, University of London, UK. She is the author of Staging Black Feminisms: Identity, Politics, Performance and has worked with several theatre companies, including Black Mime Theatre, Black Theatre Co-operative (now NITRO) and the Tricycle Theatre.Deidre Osborne is Senior Lecturer in Drama and Theatre Arts at Goldsmiths, University of London, UK. She is the editor of Hidden Gems: An Anthology of Black British Plays and Associate Editor of the literary journal Women's Writing 1558-1915.Table of ContentsAcknowledgements Notes on Contributors Introduction: Framing Black British Drama: Past to Present; Mary Brewer, Lynette Goddard, Deirdre Osborne PART I: POST-WAR MIGRATION 1. The Social and Political Context of Black British Theatre: 1950s-80s; Helen Thomas 2. Identity Politics in the Plays of Mustapha Matura; Brian Crow 3. Staging Social Change: Three Plays by Barry Reckord; Mary F. Brewer 4. Home/lessness, Exile and Triangular Identities in the Drama of Caryl Phillips; Suzanne Scafe PART II: SECOND GENERATION 5. The Social and Political Context of Black British Theatre: 1980s-90s; Meenakshi Ponnuswami 6. Looking Back: Winsome Pinnock's Politics of Representation; Nicola Abram 7. (Black) Masculinity, Race, and Nation in Roy Williams' Sports Plays; Lynette Goddard 8. Kwame Kwei-Armah's African-American Inspired Triptych; Michael Pearce PART III: NEO-MILLENNIAL 9. The Social and Political Context of Black British Theatre: The 2000s; D. Keith Peacock 10. Resisting the Standard and displaying her colours: debbie tucker green at British Drama's Vanguard; Deirdre Osborne 11. Bola Agbaje: Voicing a New Africa on the British Stage; Ekua Ekumah 12. Witnessing to, in, and from the Centre: Oladipo Agboluaje's Theatre of Dialogic Centrism; Victor Ukaegbu Bibliography Index.

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Book SynopsisIntroduction  Clowning Rules  Finding your Clown  Mission: Impossible  Stretching in New Directions  The Ins and Outs of White-face  Voice and Text  Afterword: Building a TroopTrade Review'Eli Simon's The Art of Clowning, is a clear, practical and well thought-out guide for novice or aspiring clowns at the high school and university level. Simon brings together classic exercises with his own innovations in a progression that gives the student and teacher a clear path. Many exercises include specific references to great clown routines - with on-line sources, these references become an invaluable compliment to the text, a huge advantage for students of this very visual art form.' - Jeff Raz, Founder and Director of the Clown Conservatory, San Francisco, USA, Lead Clown in Cirque du Soleil 'In The Art of Clowning, Eli Simon manages to capture the unique spirit of the clown. The techniques of clowning are clearly and precisely laid out with humor, passion, and a sense of emotional depth. I would recommend The Art of Clowning to any actor - it is an invaluable resource for movement and comedy skills in the context of clowning as an art form.' - Henson Keys, Chair of Acting Program, University of Illinois Department of Theatre, USA 'Eli Simon has synthesized his vast catalog of clown teaching knowledge and laid it out for us in The Art of Clowning. It is an eminently useful book and an important resource for any teacher of theatre at any level. Simon is masterful in his articulation of the process of teaching clowning and deeply respectful of the clowning tradition that he pays homage to.' - Charlie Oates, Professor of Theatre/Movement, University of California at San Diego, USA 'The Art of Clowning provides readers with a clear and empowering guide to the world of clowning. It provides sound advice and exercises for any actor, clown or not. This book is easy and fun to read, and is a useful addition to our field. I particularly appreciate the material on the clown's relationship to the audience, an area I consider much overlooked and of critical importance to any stage actor.' - Sanford Robbins, Director of Professional Theatre Training Program, Chair of Theatre 'The Art of Clowning is an invaluable training resource manual for would-be clowns in high school, college, and university classes; and in any number of clown festivals currently proliferating around the world. Simon, an internationally known director and teacher of acting with his own clown troupe, has given us a clear, straight-forward description of how to find one's 'inner clown.' This wonderful book betrays a passionate devotion to the importance of clown work, not only in creating clown characters, but also in helping actors transform themselves into any theatrical roles: from clowns and villains to heroines and tragic monarchs.' - Michael Flachman, Professor of English and Director of The Hawk Honors Program at California State University, Bakersfield, USA 'The Art of Clowning positively vibrates with joy and inspiration. Simon's writing is clear, spirited and accessible; even the table of contents is beguiling. His step-by-step instructions are designed for both a performer working alone or for a collaborative team of performer and trainer, and will guide even the shyest novice to discover her own unique clown personality.' - Leslie Bennet, Professor of Movement, Department of Theatre and Film, University of Kansas, USA 'In The Art of Clowning Eli Simon beautifully articulates his thoughtful and systematic approach to the serious investigation of clowning. The clearly defined progression guides the reader to playfully and safely uncover his/her clown, and deepen creative, artistic expression.' - Peter Hadres, Artistic Associate, Pacific Conservatory of Performing Arts 'Eli Simon - in his instruction, in his life's work and in The Art of Clowning - brings the depth and soul back to clowning that follows the lineage from Pierrot through Chaplin and Skelton. This book shows the purity and love of clowning. Simon reminds us why clowns are the very essence of theatre and why so much of good acting and storytelling is non-verbal. My only regret is that I didn't have a chance to be trained by Eli when I was young and learning. Every actor and writer should read this book!' - Zoot Velasco, New Vaudeville Performer, Artistic Director, Muckenthaler Cultural Center 'What a great resource for actors and performers! You will learn to create an intimate connection with your audience, find the stripped-down truth in your performances, and actually enjoy committing to failure! The Art of Clowning is your blueprint for finding and deepening your inner clown. There's something here for actors at every level; those just starting out and those of us who have been clowns for a while. This book is packed with fruitful exercises and illuminating information on the history and background of clowning.' - Crista Flanagan, Actor/Comedienne, Star of 'Madd TV' 'Eli Simon's vast experience as a director, teacher, and clown trainer makes The Art of Clowning a joyful journey to one's inner clown - the soul of any performer. His exercises constitute an enlightening journey of self-discovery, a veritable roadmap to connecting with audiences of any size. Whether your ultimate goal is Shakespeare, modern theatre, film, or television, Simon's experienced, supportive, and humorous voice points you in the right direction.' - Andrew Hill Newman, Producer/Writer, Head Writer 'iCarly' 'Eli Simon's The Art of Clowning is the next best thing to having Simon in the room next to you when you are exploring the clown's world. Simon is direct and generous in opening up the whole spectrum of the clown to actors both experienced and novice. His natural zest and love for the actor as clown literally springs up from every page. Read this book, follow Simon's treasure trail and you will, you must be drawn into yours and others private and yet so public clown world.' - Kevin Crawford, Director, Accademia dell arte, Arezzo, Italy 'Eli Simon has created a user-friendly workbook that will not sit pristine on a bookshelf for long. It will become that dog-eared, heavy-highlighted, well-worn manual with plenty of notes in the margins that gets pulled out and reviewed frequently by teachers, students, and performers alike.' - Theatre TopicsTable of ContentsIntroduction Clowning Rules Finding your Clown Mission: Impossible Stretching in New Directions The Ins and Outs of White-face Voice and Text Afterword: Building a Troop

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Book SynopsisIs there more to 1970s British cinema than sex, horror and James Bond? This lively account argues that this is definitely the case and explores the cultural landscape of this much maligned decade to uncover hidden gems and to explode many of the well-established myths about 1970s British film and cinema.Trade Review'A substantial analysis of British film-making in the 1970s that will make a thoughtful contribution to the field of British cinema studies.' - Andrew Spicer, University of the West of England, UK 'British Film in the 1970s is a great companion text to any module teaching British cinema of the period, but it also is a useful text to encourage those working on other times and places to ask questions about the framing of other periods and national cinemas.' - Dr E. Anna Claydon, Viewfinder Online 'Barber's carefully researched volume will surely become the 'go to' book with regard to the industrial context of British film-making in this newly fashionable decade.' - Stephen Glynn, Journal of British Cinema and Television (Jan 2014)Table of ContentsList of abbreviations Acknowledgements Table of Figures Dedication Introduction Film and Cultural History Understanding the 1970s Film and Government Funding Innovation Movers and Shakers Institutions and Organisations The Films Sunday Bloody Sunday: Authorship, Collaboration and Improvisation The Go-Between: The Past, the Present and the 1970s Confessions of a Window Cleaner: Sex, Class and Popular Taste Stardust: Stardom, Performance and Masculinity Scum: Institutional Control and Patriarchy The Tempest: A Brave New World of Creative Endeavour? Conclusion

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Book SynopsisVictorians on Screen investigates the representation of the Victorian age on British television from the mid-1990s to the mid-2000s. Structured around key areas of enquiry specific to British television, it avoids a narrow focus on genre by instead taking a thematic approach and exploring notions of authenticity, realism and identity.Trade Review"This excellent book uniquely explores the changes in visual and narrative representation of the Victorian age across different television formats. The sophisticated analyses highlight links between the cultural imagination of the past, its visual and narrative representation and social and political contexts. It will appeal to television and literary scholars, as well as those interested in the construction of myths of the past." - Ann Gray, Emerita Professor of Cultural Studies, University of Lincoln, UKTable of ContentsAcknowledgements 1. Introduction – Neo-Victorian Television: British Television Imagines the Nineteenth Century 2. Period Representation in Context: The Forsyte Saga on BBC and ITV 3. Victorians Fictions and Victorian Nightmares 4. Murder Rooms and Servants: Original Drama as Metadaptation 5. Real Victorians to Victorian Realities: Factual Television Programming and the Nineteenth Century 6. Conclusion - Victorian Facts, Victorian Fictions Bibliography Television Programmes and Films Cited Index

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Book SynopsisThis book investigates the expanding parameters for site-specific performance to account for the form's increasing popularity in the twenty-first century. Leading practitioners and theorists interrogate issues of performance and site to broaden our understanding of the role that place plays in performance and the ways that performance influences itTrade Review'This excellent anthology provides a wide-ranging collection of essays on critical issues of place-based theatre. It includes articles that treat historical and contemporary themes from the perspectives of both theorists and practitioners in a variety of institutional contexts. As the best anthologies do, it both bolsters and challenges the discipline.' - Professor Laurie Beth Clark, University of Wisconsin Madison, USA 'This is a welcome addition to the developing literature on site-specific theatre and performance, whose chief virtue lies in providing a range of original essays testifying to the diversity and disparateness of contemporary site-based work.' - Steve Bottoms, New Theatre Quarterly 'Performing Site-Specific Theatre is an insightful collection of essays that presents an interesting examination of site-specific theory and practice. It is a welcome addition to a field still largely located in performance studies and art, here exploring its intersection with theatre... [The book] will be a useful book for researchers and teachers of site-specific performance, including its theories and practices.' - Kris Darby, Contemporary Theatre ReviewTable of ContentsList of Illustrations Acknowledgements Notes on Contributors The 'Place' and Practice of Site-Specific Theatre and Performance; J.Tompkins PART I: SITE-SPECIFICITY AND ECONOMICS Rethinking Site-Specificity: Monopoly, Urban Space, and the Cultural Economics of Site-specific Performance; M.McKinnie PART II: SITE-SPECIFICITY AND THE NARRATIVES OF HISTORY Rehearsing Across Space and Place: Rethinking A Masque Presented at Ludlow Castle; S.Bennett & J.Sanders Embodied Presence and Dislocated Spaces: Playing the Audience in Ten Thousand Several Doors in a Promenade, Site-specific Performance of John Webster's The Duchess of Malfi ; J.Collins Haunted House: Staging The Persians with the British Army; M.Pearson Toiling, Tolling and Telling: Performing Dissensus; K.Irwin PART III: SITE SPECIFITIY AND THE SLIPPAGE OF PLACE Beyond Site-specificity: Environmental Heterocosms on the Street; S.Haedicke Repetition and Performativity: Site-specific Performance and Film as Living Monument; A.Birch Contemporary Ekkeklemas in Site-specific Performance; L.Ferris 'Places, like property prices, go up and down': Site-specificity, Regeneration and The Margate Exodus; L.Owen PART IV: SITE-SPECIFICITY AND THEATRICAL INTIMACY Ambulatory Audiences and Animate Sites: Staging the Spectator in Site-specific Performance; K.Zaiontz Immersive Negotiations: Binaural Perspectives on Site-specific Sound; B.Barton & R.Windeyer My Sites Set on You: Site-specificity and Subjectivity in 'Intimate Theatre'; H.Iball PART V: SITE SPECIFICITY AND POLITICS Siting the People: Power, Protest and Public Space; S.Nield Bibliography Index

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Book SynopsisList of Figures Glossary Acknowledgments Introduction 1 PART I: MUSEUM, MEMORY, MEDIUM 1. A New Type of Museum? 2. Memory Boom, Memory Wars and Memory Crisis 3. Is There Such a Thing as 'Collective Memory'? 4. Media Frameworks of Remembering 5. Difficult Pasts, Vicarious Trauma: The Concept of 'Secondary Witnessing' 6. Empathy and its Limits in the Museum 7. Nostalgia and Post-Nostalgia in Heritage Sites PART II: THE DEATHS OF OTHERS: REPRESENTING TRAUMA IN WAR MUSEUMS 8. Sites of Trauma 9. Icons of Trauma PART III: SCREEN MEMORIES AND THE 'MOVING' IMAGE: EMPATHY AND PROJECTION IN ISM, LIVERPOOL, AND IWM NORTH, MANCHESTER 10. The Politics of Empathy 11. Testimonial Video Installation 12. Middle Passage Installation 13. The Big Picture in IWM North 14. Guilt, Grief and Empathy PART IV: THE PARADOXES OF NOSTALGIA IN MUSEUMS AND HERITAGE SITES 15. (Post-)Nostalgia for the Museum? The Pitt Rivers Museum, Oxford 16. The Ghosts of Spitalfields: 18 Folgate Street and 19 Princelet Street 17. ITrade Review“Silke Arnold-de Simine’s book is a tour de force that introduces readers to a variety of new museums and heritage sites across Europe … When the reader finishes reading this intriguing and moving book, the first thing he or she wants to do is rush out and visit those new museums.” (Vered Vinitzky-Seroussi, European Journal of Cultural and Political Sociology, Vol. 2 (3-4), March, 2016)“Arnold-de Simine provides a very useful starting point for those wading into the research area situated between memory studies and museum studies. In making clear distinctions between authentic objects, representational displays, video testimony, and memory texts within her analysis of the mediated exhibits, she provides a nuanced understanding of the differences between museums, memorials, remembrance, and the spatial reenactment of trauma. Her synthesis of concepts from the various fields associated with the flourishing of “spaces of memory” will prove especially useful for anyone new to this burgeoning field.” (Amy Freier, Memory Studies, 2015, Vol. 8(3), p.379–382)"This book is a welcome and extremely useful contribution to the subject of memory studies. I suspect it will reinvigorate the field in some interesting ways and may even form the core of a new, much-needed round of cross-disciplinary research." (Journal of Contemporary European Studies, 2014)Table of ContentsList of Figures Glossary Acknowledgments Introduction 1 PART I: MUSEUM, MEMORY, MEDIUM 1. A New Type of Museum? 2. Memory Boom, Memory Wars and Memory Crisis 3. Is There Such a Thing as 'Collective Memory'? 4. Media Frameworks of Remembering 5. Difficult Pasts, Vicarious Trauma: The Concept of 'Secondary Witnessing' 6. Empathy and its Limits in the Museum 7. Nostalgia and Post-Nostalgia in Heritage Sites PART II: THE DEATHS OF OTHERS: REPRESENTING TRAUMA IN WAR MUSEUMS 8. Sites of Trauma 9. Icons of Trauma PART III: SCREEN MEMORIES AND THE 'MOVING' IMAGE: EMPATHY AND PROJECTION IN ISM, LIVERPOOL, AND IWM NORTH, MANCHESTER 10. The Politics of Empathy 11. Testimonial Video Installation 12. Middle Passage Installation 13. The Big Picture in IWM North 14. Guilt, Grief and Empathy PART IV: THE PARADOXES OF NOSTALGIA IN MUSEUMS AND HERITAGE SITES 15. (Post-)Nostalgia for the Museum? The Pitt Rivers Museum, Oxford 16. The Ghosts of Spitalfields: 18 Folgate Street and 19 Princelet Street 17. Intangible Heritage, Place and Community: Écomusée d'Alsace 18. Ostalgie – Nostalgia for GDR Everyday Culture? The GDR in the Museum PART V: UNCANNY OBJECTS, UNCANNY TECHNOLOGIES 19. Phantasmagoria and its Spectres in the Museum Conclusion Notes Bibliography Index

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Book SynopsisSUE-ELLEN CASE is Professor and Chair of Critical Studies in Theater, UCLA, USA.ELAINE ASTON is Professor of Contemporary Performance at Lancaster University, UK where she teaches and researches feminist theatre, theory and performance, a field in which she is widely published. Her authored studies include An Introduction to Feminism and Theatre (1994); Caryl Churchill (1997/ 2001); Feminist Theatre Practice (1999) and Feminist Views on the English Stage (2003). She has co-edited four volumes of plays by women and, with Janelle Reinelt, co-edited The Cambridge Companion to Modern British Women Playwrights (2000).

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Book SynopsisSTUART HAMPTON-REEVES is Professor of Research-Informed Teaching at the University of Central Lancashire, UK, and a Trustee of the British Shakespeare Association. His previous publications include the volume on Measure for Measure, also in the Shakespeare Handbooks series.

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Book SynopsisMusic and the Making of the Middle Class explores the making of middle-class culture by analyzing and comparing the ethos and organization of Leipzig's Gewandhaus and Birmingham's Triennial Festival. It employs a multidisciplinary approach to identify the social processes which formed the cultural configurations and meanings of art.Table of ContentsIntroduction Chapter One: Introducing the Towns The Rise of Cultural Diversity, ca1750-1820 From Early Beginnings to Consolidation: The late 18th century to 1847 Post-Mendelssohn to Fin-de-Siècle Transformations and Approaches to War: Fin-de-Siècle to 1914 Conclusion Bibliography

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Book SynopsisMichael Mangan is Professor and Chair of Drama at Loughborough University, UK. He has taught English and Drama in Universities in the UK and the US, and has held chairs at the University of Wales Aberystwyth and De Montfort University. He is also a playwright and director, and has worked as a literary manager, a dramaturg and an actor. His books include Christopher Marlowe's Doctor Faustus: A Critical Study, A Preface to Shakespeare's Tragedies and Staging Masculinities: Gender, History, Performance.Trade Review"This well-conceived book would be a very useful resource for any Drama student. It is broad in scope and rigorous in detail. The author has a particular skill in drawing out key points from complex texts and presenting them in lucid, accessible and engaging ways." - Jackie Smart, Kingston University, UKTable of ContentsIntroduction: This book and how to use it PART I: DRAMA, THEATRE AND PERFORMANCE: THE SUBJECT AND ITS STUDY 1. The Context of the Subject 2. Your Course and what to Expect from it 3. Study Skills for Drama, Theatre and Performance Students PART II: CORE TOPICS IN DRAMA, THEATRE AND PERFORMANCE 4. Developments and Directions 5. Working Practically 1: Acting 6. Working Practically 2: Devising 7. Working Practically 3: Directing 8. Theatre Histories 9. Analysing Texts 10. Questions of Theory 11. Theatre and Gender 12. Theatre and the World: Globalization, Interculturalism and Postcolonialism 13. The Uses of Drama: Applying Performance 14. Mediating Performance: From the Machine Age to the Digital Age PART III: KEY CONCEPTS PART IV: LANDMARKS: KEY PRACTITIONERS, THEORISTS AND PERFORMANCES PART V: FRAMEWORKS FOR RESEARCH: KEY WRITINGS ON DRAMA, THEATRE AND PERFORMANCE PART VI: WHAT NEXT? PART VII: RESOURCES FOR STUDYING DRAMA, THEATRE AND PERFORMANCE Bibliography Index.

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Book SynopsisROSS BROWN is Dean of Studies andReader in Soundat the Central School of Speech and Drama, University of London, UK. He is Convenor of the International Theatre Sound Colloquium His professional career as a theatre composer, musician and sound designer includes productions for BBC Radio Drama, Shared Experience, RSC, The Almeida, BAC, The Gate, The Royal Court, The Shadow Syndicate, Glasgow Citizens', Lancaster Duke's, Derby Playhouse, Red Shift and many other prestigious companies in the commercial and subsidised sectors.

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Book SynopsisSCOTT PALMER is a Lecturer in Scenography and Deputy Head of the School of Performance & Cultural Industries at the University of Leeds, UK. His research interests focus on scenography, lighting design and the interaction between technology and performance. This has included experimental work with projected light and the creation of immersive performance experiences. His recent research practice includes the AHRC-funded project Projecting Performance and Emergent Objects part of the AHRC/EPSRC funded Designing for the 21st Century initiative. He is an executive member of the Association of Lighting Designers.

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