Other performing arts Books

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Book SynopsisProvides a comprehensive look at the satiric humor that flourished in the United States during the 1950s and early 1960s. This book reminds us that the postwar era saw varieties of comic expression that were more challenging and nonconformist than we commonly remember.Trade Review"Stephen Kercher's evocative survey of postwar political satire is almost encyclopedic in its range and impeccable for its clear writing and sound scholarship. Many still think of the 1950s as an era of monolithic conformity, yet this irresistible vein of black humor, from Sid Caesar to Lenny Bruce, offered a tremendous outlet for wildly inventive parody and social criticism. This book should delight those who remember the period and enlarge the understanding of those who don't." - Morris Dickstein"

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Book SynopsisDuring the 1920s and '30s, Franz Taibosh - whose stage name was Clicko - performed in front of millions as one of the stars of the Ringling Brothers and Barnum & Bailey Circus. This title presents the story of Taibosh's journey from boyhood on a small farm in South Africa to top billing as one of the travelling World's Fair Freaks.Trade Review"An astonishing story that illuminates the history of a talented person who represented a fragile culture to the world. It entertains and astonishes us - but it also enriches our knowledge of a hardy and resourceful person and a fascinating slice of southern African history." - Alexander McCall Smith, from his Foreword"

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Book SynopsisDuring the 1920s and '30s, Franz Taibosh - whose stage name was Clicko - performed in front of millions as one of the stars of the Ringling Brothers and Barnum & Bailey Circus. This title presents the story of Taibosh's journey from boyhood on a small farm in South Africa to top billing as one of the travelling World's Fair Freaks.Trade Review"An astonishing story that illuminates the history of a talented person who represented a fragile culture to the world. It entertains and astonishes us - but it also enriches our knowledge of a hardy and resourceful person and a fascinating slice of southern African history." - Alexander McCall Smith, from his Foreword"

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Book SynopsisThis work investigates the power behind classical music and dance in Bangkok, the capital and sacred center of Buddhist Thailand. Focusing on the ritual of honouring teachers of music and dance, Deborah Wong reveals a complex network of connections among kings, teachers, knowledge and performance.

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Book SynopsisThis work investigates the power behind classical music and dance in Bangkok, the capital and sacred center of Buddhist Thailand. Focusing on the ritual of honouring teachers of music and dance, Deborah Wong reveals a complex network of connections among kings, teachers, knowledge and performance.

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Book SynopsisAlberto Mira offers a new account of how pop music revolutionized the Hollywood musical. He shows that while the Hollywood system ceased producing large-scale traditional musicals, different pop strains—disco, rock ’n’ roll, doo-wop, glam, and hip-hop—renewed the genre, giving it a new life.Trade ReviewAlberto Mira’s timely volume superbly fills a gap in writing on the musical, focusing with originality, flair and thorough scholarship on a significant variant of the genre. He demonstrates how the Pop musical has taken the genre into new directions, for instance making it even more socially aware, revising its folk discourse, and exploring questions of sexual identity. In his analysis of the star qualities of Ann-Margret, the changing impact of Elvis Presley, re-appraisal of films like Bye Bye Birdie and The Rocky Horror Picture Show or, more generally, the way Pop musicals draw on and diversify the traditions of the classical musical, Mira ensures that this exciting volume will be essential reading for devotees as well as for scholars of the film musical, and the aesthetics, cultural and socio-political contexts of popular cinema. -- Peter William Evans, Queen Mary University of LondonWhile much has been written on the change in the musical's cinematic language in the postclassical period, the “pop musical” itself has not been sufficiently identified, theorized, or historicized. In The Pop Musical, Alberto Mira addresses this gap, insisting that the genre’s unique relationship with pop music plays a determining role in how these films make meaning. -- Desirée Garcia, author of The Movie MusicalTable of ContentsAcknowledgmentsIntroduction: The Hollywood Musical Is Dead. Long Live the Hollywood Musical!1. Hollywood and the Rise of Pop Music: The Age of Elvis2. Embracing Pop: Integrating the Pop Musical3. Looking Back: The Pop Musical and the PastConclusion: Qualified JoysNotesBibliographyIndex

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Book SynopsisIn Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. In place of the conventional documentary, she advocates for a “postrealist” cinema.Trade ReviewKill the Documentary is a brilliant, angry book. An honest book. A brave book. Guggenheim Fellow and award-winning filmmaker Jill Godmilow has written a stirring call to arms. -- Cynthia Close * Documentary Magazine *Creatively curious pages -- Ezra Winton * Cineaste *Jill Godmilow marshals a pantheon of hard-hitting, tough-minded films that refuse to be herded into the realist corral. Godmilow’s letter, or manifesto, like most manifestos, draws a line in the sand. Which side are you on becomes the question. Stay put and miss the point, or step on through to the other side and restore for yourself some of the nuance and subtlety that is foreign to the spirit of a manifesto. -- Bill Nichols, from the ForewordThis provocative and engaging book by acclaimed filmmaker Jill Godmilow raises important questions for anyone concerned about the future of political documentary. She maps out an original approach to “postrealist” documentary that champions moral engagement, social activism, aesthetic daring, historical grounding, and intersectional participation for bold twenty-first-century filmmaking. -- Deirdre Boyle, author of Ferryman of Memories: The Films of Rithy PanhIn her captivating and original Kill the Documentary, filmmaker and critic Jill Godmilow offers a plea—in the form of a letter, which is a manifesto, and forty propositions, and a tool kit—for making postrealist nonfiction, for making film useful and fruitful. In her scathing critique of “great” documentaries, and her offering up of her own counter-canon, she insists that filmmakers and viewers can begin again by refusing the pedigree, pornography, and cultural imperialism of the real, and by supporting postrealist strategies: interventionist and interactive, performative and formal. Honestly, I don’t agree with all she says, or every one of the 144 films she honors, and that’s her urgent book’s point and purpose: I can and should make my own. -- Alexandra Juhasz, Brooklyn College, CUNYKill the Documentary is a provocative manifesto for rethinking the documentary. Godmilow provides a shield against the tear-soaked sentimentality and nostalgia of the Ken Burns style of packaging history. A new tool in the film teacher's kit, this book is useful beyond discussions of documentary. The passion of her prose is infectious—a welcome relief for student reading assignments. -- DeeDee Halleck, professor emerita, University of California, San DiegoThis book will be a gold mine for any instructors putting together an “Introduction to Documentary Filmmaking” syllabus or for cinematic autodidacts hungry to experiment with alternative modes of nonfictional filmmaking. -- Jaimie Baron * Film Quarterly *Herein lies the specificity and refreshing nonconformity of [this] book: it pushes the reader not only to see through the ideological premises of conventional formats, but also to delve into the multiple configurations that generate subversive experiences . . . [Godmilow's] persistent faith in the importance of developing critical awareness and in the agency of art to intervene into reality despite the omnipresent ‘capitalist realism’ in the global neoliberal society radiates a compelling force. -- Stefanie Baumann * Radical Philosophy *Table of ContentsManifestly Radical: A Foreword, by Bill NicholsAcknowledgmentsI Call This Book a LetterIntroduction—a Letter to Filmmakers1. Abandon the Conventional Documentary—Reject Realism as the Only Authentic Nonfiction Form2. Take Action—Make Useful Postrealist Films3. Forty Postrealist Strategies to Learn from and Borrow4. The ToolkitNotes BibliographyIndex

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Book SynopsisRadio for the Millions examines Hindi-Urdu radio during the height of its popularity from the 1930s to the 1980s, showing how it created transnational communities of listeners. Isabel Huacuja Alonso argues that despite British, Indian, and Pakistani politicians’ efforts to usurp the medium for state purposes, radio largely escaped their grasp.Trade ReviewRadio for the Millions is a fantastic work of radio history and South Asian historiography. It is meticulously researched, making use of an extensive range of archival collections across India, Pakistan, and Sri Lanka, as well as oral-historical interviews with radio broadcasters. Focusing on radio as a medium and following radio waves across the national borders of South Asia, this book is an excellent contribution to the project of decolonizing sound studies and the project of denationalizing South Asian history. -- Amanda Weidman, author of Brought to Life by the Voice: Playback Singing and Cultural Politics in South IndiaThis pathbreaking study shows how an attentiveness to the political and cultural potency of radio sounds reframes our understandings of histories in South Asia. Huacuja Alonso illuminates the relationship between aurality and orality, inviting us to lend an ear to voices and sounds on the radio waves that transcend and complicate borders, states, identities, and cultures in South Asia. -- Kama Maclean, University of HeidelbergThis ambitious and wide-ranging book takes seriously radio as a medium and music as a central form of sensorial engagement that defied borders and communal affiliations. Spanning India, Pakistan, and Sri Lanka from the colonial to the postcolonial periods, it explains how a subcontinental popular culture endured in spite of multiple partitions. -- Durba Ghosh, Cornell UniversityRadio for the Millions challenges neat historiographies often developed from and/or by state archives. Huacuja Alonso reminds us that the “oral” and “aural” are indeed messy and complicated yet necessary registers for understanding national, political turmoils. Hindi-Urdu broadcast radio has long been a site of both (state) nation-building and (community) place-making by listeners. Radio for the Millions is an exemplary study of why listening is such an integral component of history. -- Dolores Inés Casillas, author of Sounds of Belonging: U.S. Spanish-Language Radio and Public AdvocacyIsabel Alonso provides a captivating history of radio that sits at the intersection of sound studies, cultural history, and the politics of nationalism in modern South Asia. In this virtuosic tale, we read about the policymakers, artists, singers, political figures, and poets who inhabited a broader transnational space in South Asia. . . This book will benefit an expansive community of readers, including academic communities in the disciplines of history and ethnomusicology and specifically readers interested in the cultural history of sound and music -- Pouya Nekouei * Not Even Past *Skillfully and imaginatively highlights the place of [radio] in the broader historiographies of nation-building, language, and the public sphere. -- Faiz Ullah * The Book Review (India) *An original and truly fascinating work. * H-Soz-Kult *A fascinating story of the history of radio in South Asia. -- Mehru Jaffer * The Citizen *The book makes an important contribution, especially in unearthing and resurrecting liminal voices, which make up what I would call a kind of archaeology of Southasian media. * Himal Southasian *Table of ContentsList of FiguresNote on TransliterationIntroduction: Tuning In to a Radio HistoryPart I: Radio News And World War II1. News on the AIR2. Netaji’s “Quisling Radio”Part II: Music And Postindependence Radio3. The “Sound Standards” of a New India4. Radio Ceylon, King of the AirwavesPart III: Dramatic Radio and the 1965 Indo-Pakistan War5. Radio Pakistan’s Seventeen Days of Drama6. The AIR Urdu Service’s Letters of LongingConclusion: Call to Me. Where Are You?AcknowledgmentsNotesBibliographyIndex

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Book SynopsisRadio for the Millions examines Hindi-Urdu radio during the height of its popularity from the 1930s to the 1980s, showing how it created transnational communities of listeners. Isabel Huacuja Alonso argues that despite British, Indian, and Pakistani politicians’ efforts to usurp the medium for state purposes, radio largely escaped their grasp.Trade ReviewRadio for the Millions is a fantastic work of radio history and South Asian historiography. It is meticulously researched, making use of an extensive range of archival collections across India, Pakistan, and Sri Lanka, as well as oral-historical interviews with radio broadcasters. Focusing on radio as a medium and following radio waves across the national borders of South Asia, this book is an excellent contribution to the project of decolonizing sound studies and the project of denationalizing South Asian history. -- Amanda Weidman, author of Brought to Life by the Voice: Playback Singing and Cultural Politics in South IndiaThis pathbreaking study shows how an attentiveness to the political and cultural potency of radio sounds reframes our understandings of histories in South Asia. Huacuja Alonso illuminates the relationship between aurality and orality, inviting us to lend an ear to voices and sounds on the radio waves that transcend and complicate borders, states, identities, and cultures in South Asia. -- Kama Maclean, University of HeidelbergThis ambitious and wide-ranging book takes seriously radio as a medium and music as a central form of sensorial engagement that defied borders and communal affiliations. Spanning India, Pakistan, and Sri Lanka from the colonial to the postcolonial periods, it explains how a subcontinental popular culture endured in spite of multiple partitions. -- Durba Ghosh, Cornell UniversityRadio for the Millions challenges neat historiographies often developed from and/or by state archives. Huacuja Alonso reminds us that the “oral” and “aural” are indeed messy and complicated yet necessary registers for understanding national, political turmoils. Hindi-Urdu broadcast radio has long been a site of both (state) nation-building and (community) place-making by listeners. Radio for the Millions is an exemplary study of why listening is such an integral component of history. -- Dolores Inés Casillas, author of Sounds of Belonging: U.S. Spanish-Language Radio and Public AdvocacyIsabel Alonso provides a captivating history of radio that sits at the intersection of sound studies, cultural history, and the politics of nationalism in modern South Asia. In this virtuosic tale, we read about the policymakers, artists, singers, political figures, and poets who inhabited a broader transnational space in South Asia. . . This book will benefit an expansive community of readers, including academic communities in the disciplines of history and ethnomusicology and specifically readers interested in the cultural history of sound and music -- Pouya Nekouei * Not Even Past *Skillfully and imaginatively highlights the place of [radio] in the broader historiographies of nation-building, language, and the public sphere. -- Faiz Ullah * The Book Review (India) *An original and truly fascinating work. * H-Soz-Kult *A fascinating story of the history of radio in South Asia. -- Mehru Jaffer * The Citizen *The book makes an important contribution, especially in unearthing and resurrecting liminal voices, which make up what I would call a kind of archaeology of Southasian media. * Himal Southasian *Table of ContentsList of FiguresNote on TransliterationIntroduction: Tuning In to a Radio HistoryPart I: Radio News And World War II1. News on the AIR2. Netaji’s “Quisling Radio”Part II: Music And Postindependence Radio3. The “Sound Standards” of a New India4. Radio Ceylon, King of the AirwavesPart III: Dramatic Radio and the 1965 Indo-Pakistan War5. Radio Pakistan’s Seventeen Days of Drama6. The AIR Urdu Service’s Letters of LongingConclusion: Call to Me. Where Are You?AcknowledgmentsNotesBibliographyIndex

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Book SynopsisThis book explains how and why our brains think in stories. Angus Fletcher, an expert in neuroscientific approaches to narrative, identifies this capacity as “storythinking.”Trade ReviewFletcher’s done it again. His polymathic erudition and word-wizardry elegance pull off the equivalent of a Copernican revolution in our understanding of storytelling—in all its resplendent iterations. With Storythinking he invites us on an extraordinary odyssey that enriches understanding of our deep, instinctive impulse to create stories as makers and transformers of our world. Storythinking is nothing less than a cosmological paradigm shift that puts story making and thinking at the center of all that we do. -- Frederick Luis Aldama, award-winning author and Jacob & Frances Sanger Mossiker Chair in the Humanities, UT AustinAngus Fletcher explains why effective narrative prioritizes the unique, shifts viewpoints, and encourages conflict. Not for their own sake. It makes a writer create and clarify more thoughtful ideas and leads readers to intuit and retain the message. Both revelatory and pragmatic, and so gracefully explained. -- Shane Greenstein, author of How the Internet Became Commercial: Innovation, Privatization, and the Birth of a New NetworkStorythinking is absolutely excellent: a much-needed reminder of and expansion on the transformative power of story, story as an enriched form of learning and as a valid epistemology. The book is a lovely, readable addition to academic and public life. I am eager to see the use of story resurrected! -- Lisa Miller, Ph.D., Professor & Founder, Spirituality Mind Body Institute, Teachers College, Columbia UniversityStory is a basic mental operation. Most of our experience, knowledge, and thinking is formed and organized by story: prediction, evaluation, planning, explanation, agents and actors, processes, goals. Story is an indispensable element of creativity. Human beings project from story to story and blend stories to create new concepts, new proposals, new science. How can we push the cognitive science of story forward? Fletcher, in this captivating and inspiring new book, leads the way. -- Mark Turner, author of The Literary Mind: The Origins of Thought and LanguageThe quickest way to elicit a scoff from 'serious thinkers' is to mention 'story'. But as someone who has built a career as a science communicator, who consistently straddles the line between art and science, and whose work is grounded in neuroscience, I know intuitively that storytelling is fundamental to how we think. Finally, Angus Fletcher brings his deep understanding of narrative together with his keen scientific mind to explain why we think in stories, why embracing story structure is the way forward, and how stories provide an architecture to thought as powerful and important as logic. Read this book. -- Indre Viskontas, Cognitive Neuroscientist, University of San Francisco[Storythinking] is a most unusual book, plumbing the depths of history to find where philosophy went off the rails, examining neurobiology for insight into creativity, and festooned with stories about great characters all the way through. I can honestly report I’ve never read anything like it. And that’s a good thing. * The Straight Dope *Table of Contents1. Story2. Story and Thinking3. The Origin of Story4. Why Our Schools Teach Logic, Not Story5. The Limits of Logic—or Why We Still Need Storythinking6. The Brain Machinery of Storythinking7. Improving Storythinking8. Storythinking for Personal Growth9. Storythinking for Social Growth10. Story’s Answer to the Meaning of LifeCoda: Conversations with a StorythinkerNotesIndex

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Book SynopsisTrade Review"An excellent study of a long-neglected area in television/media studies and is part of a larger turn toward the centrality of comedy in post-war U.S. culture." Jeffrey Sconce, Northwestern University"—review"A stalwart of television since its earliest days, sketch comedy finally gets the in-depth critical attention it deserves. Nick Marx shows how sketch comedy has fit (and been constrained by) TV's industrial contexts, from live variety shows in its earliest days to movement across media in the era of multiple platforms. These case studies not only chart sketch comedy's past, they provide the theoretical and analytical tools to consider its future."—Ethan Thompson, Texas A&M University Corpus Christi, blurbTable of ContentsAcknowledgementsIntroduction: Sketch Comedy and Reflexive Flexibility1. From Radio Voices to Variety Choices: The Colgate Comedy Hour and Sketch Comedy in Early Television2. "and You're Not": Saturday Night Live in the Network Era and Beyond3. Brand X: MTV's The State and Generation X in the Multi-Channel Transition4. Sketch Comedy's Identity (Post-)Politics: Inside Amy Schumer, Key & Peele, and Comedy Central in the Post-Network EraConclusion: Sketch Comedy and Cultural CohesionBibliographyIndex

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Book SynopsisTrade Review"An excellent study of a long-neglected area in television/media studies and is part of a larger turn toward the centrality of comedy in post-war U.S. culture." Jeffrey Sconce, Northwestern University"—review"A stalwart of television since its earliest days, sketch comedy finally gets the in-depth critical attention it deserves. Nick Marx shows how sketch comedy has fit (and been constrained by) TV's industrial contexts, from live variety shows in its earliest days to movement across media in the era of multiple platforms. These case studies not only chart sketch comedy's past, they provide the theoretical and analytical tools to consider its future."—Ethan Thompson, Texas A&M University Corpus Christi, blurbTable of ContentsAcknowledgementsIntroduction: Sketch Comedy and Reflexive Flexibility1. From Radio Voices to Variety Choices: The Colgate Comedy Hour and Sketch Comedy in Early Television2. "and You're Not": Saturday Night Live in the Network Era and Beyond3. Brand X: MTV's The State and Generation X in the Multi-Channel Transition4. Sketch Comedy's Identity (Post-)Politics: Inside Amy Schumer, Key & Peele, and Comedy Central in the Post-Network EraConclusion: Sketch Comedy and Cultural CohesionBibliographyIndex

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Book SynopsisFocusing on star writer/performer comedians—Kathy Griffin, Tina Fey, Sarah Silverman, Margaret Cho, Wanda Sykes, and Ellen DeGeneres—Pretty/Funny demonstrates that women’s comedy has become a prime site of feminism in the twenty-first century.Trade Review"Can a woman comic be pretty and funny? This academic (but readable) feminist take on six transgressive women laugh-getters - DeGeneres, Sykes, Silverman, Griffin, Cho and Fey- shows how each challenges the conventional role the culture assigns them" - Ms. Magazine "Focuses on Katy Griffin, Tina Fey, Sarah Silverman, Maragert Cho, Wanda Sykes, and Ellen DeGeneres" - Chronicle of Higher Education "Pretty/Funny compiles six case studies of famous female comedians who write their own material - Fey, Kathy Griffin, Sarah Silverman, Margaret Cho, Wanda Sykes and Ellen DeGeneres. Particularly, it focuses on how each woman's comedy challenges the pretty/funny binary that has shape-shifted as women making their own comedy expands [...] Race and sexuality fittingly play a big role in the book's analyses as well, looking at how these comedians' writing challenge and poke fun at how gender appears in sexism, racism, anti-semitism and homophobia. Pretty/ Funny is a fun and revealing book fit for anyone interested in the academic underpinnings of the anti-authoritarian bastard children (lady comics) of a cultural bastard child (comedy)." - Columbus Alive! "In her new book Pretty Funny: Women Comedians and Body Politics, Linda Mizejewski - Professor of Women's, Gender and Sexuality Studies at the Ohio State University in Columbus - rips apart the notion that there are no funny women, and pours scorn on the idea that funny women should be judged only by their appearance. Pretty/Funny is very accessible for the non-academic reader, and is an enjoyable stomp through the sexist battlefield of the comedy circuit." - What the Frock?Table of Contents Acknowledgments Introduction. Pretty/Funny Women and Comedy's Body Politics: Funniness, Prettiness, and Feminism Chapter One. Kathy Griffin and the Comedy of the D List Chapter Two. Feminism, Postfeminism, Liz Lemonism: Picturing Tina Fey Chapter Three. Sarah Silverman: Bedwetting, Body Comedy, and "a Mouth Full of Blood Laughs" Chapter Four. Margaret Cho Is Beautiful: A Comedy of Manifesto Chapter Five. "White People Are Looking at You!" Wanda Sykes's Black Looks Chapter Six. Ellen DeGeneres: Pretty Funny Butch as Girl Next Door Notes Bibliography Index

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Book SynopsisFocuses on queer and trans people of colour who apprehend the risky medium of the night to explore, know, and stage their bodies, genders, and sexualities in the face of systemic and social negation.

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Book SynopsisPresents innovative formulations for how African performance and the arts shape the narratives of cultural history and politics. This collection engages with a breadth of African countries and art forms, bringing together speech, hip hop, religious healing, theatre and social justice, opera, radio, protest songs, and migrant workers' dances.Table of Contents Acknowledgments Introduction: “Performance and Politics in Africa: Approaches and Perspectives” The Play of Social and Political Roles in Everyday Life 1. “Performing Political Identities: Senegalese Speakers and Their Audiences” (Senegal) Judy T. Irvine, University of Michigan 2. “The Socio-poetics of Sanakuyaagal: Negotiating Joking Relationships in West Africa” (Senegal) Nikolas Sweet, University of Michigan 3. “Participation beyond Gratitude: ‘Sterling Greetings’ and the Mediation of Social Ties on Nigerian Radio” (Nigeria) Jendele Hungbo, Bowen University (Iwo, Nigeria) Expressions of Identity, Consciousness, and Migration 4. “The Phenomenology of Collapsing Worlds: isiShameni Dance and the Politics of Proximity in Jeppestown, Johannesburg” (South Africa) Thomas M. Pooley, University of South Africa 5. “African Heritage Revealed through Musical Encounters and Political Ideologies in Cameron White’s Ouanga! and Reuben Tholakele Caluza and Herbert Isaac Ernst Dhlomo’s Moshoeshoe” (South Africa) Innocentia Jabulisile Mhlambi, University of the Witwatersrand 6. “Angalia Ni Mimi: A Performance by Marthe Djilo Kamga” (Cameroon) Frieda Ekotto, University of Michigan Gendered Messages of Social Change 7. “Surviving Gender Violence: Activating Community Stories for Social Change” (South Africa) Anita Gonzales, University of Michigan 8. “Gangsters, Masculinity and Ethics: Underground Rapping in Dar es Salaam” (Tanzania) David Kerr, University of Birmingham and University of Johannesburg Songs of Protest and Activist Opera 9. “Seditious Songs: Spirituality as Performance and Political Action in Colonial-era Belgian Congo” (Democratic Republic of the Congo) Yolanda Covington-Ward, University of Pittsburgh 10. “Activist Operatic Spaces Depicting Reality: Puccini’s La BohÈme becomes Breathe Umphefumlo” (South Africa) Naomi AndrÉ, University of Michigan 11. “Intrinsic Power of Songs Sung During Protests at South African Institutions of Higher Learning” (South Africa) Nompumelelo Zondi, University of Pretoria Contributors

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Book SynopsisThis groundbreaking collection imagines disabled bodies as ""bodies in commotion"" - bodies that dance across artistic and discursive boundaries, challenging our understanding of both disability and performance.Trade ReviewA testament to the synergy of two evolving fields. From the study of staged performances to examinations of the performing body in everyday life, this book demonstrates the enormous profitability of moving beyond disability as metaphor. . . . It's a lesson that many of our cultural institutions desperately need to learn." —Martin F. Norden, University of Massachusetts-Amherst

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Book SynopsisExplores the politics of gender in motion. From drag ballerinas to faux queens, and from butoh divas to the club mothers of modern dance, this book delves into four decades of drag dances on American stages, tracing the ways in which bodies can be imagined otherwise.Trade ReviewThe Bodies of Others connects drag performance to multiple dance histories, tracing how choreography and gesture have long been central to how drag performers and scholars of drag performance have reimagined gender. Substantively researched and tightly argued, the book makes a strong contribution to central and exciting conversations in performance studies and dance studies. I look forward to teaching this in my class."" - Clare Croft, University of Michigan

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Book SynopsisExplains the Western's popularity. This study deals with the question of the Western as an American myth, will lead us into abstract structural theory as well as economic and political history. It takes you into the movies, and sagebrush of the cinema.Table of ContentsPreface 1. Introduction: The Myth and the Method 2. The Structure of Myth 3. The Structure of the Western Film 4. Myth as a Narrative of Social Action 5. Individuals and Values: The Classical Plot 6. Individuals Against Values: The Vengeance Variation 7. Groups and Techniques: The Professional Plot 8. Myth and Meaning Methodological Epilogue Appendix Bibliography Index

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Book SynopsisFeatures more than 100 performance artists' interviews that highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.Table of ContentsPreface by Linda M. Montano Introduction: Shall We Talk? Linda M. Montano Performs Autobiographical Voices, by Angelika Festa PART ONE sex Introduction by Christine Tamblyn Vito Acconci Philip Corner Paul Cotton Karen Finley Vanalyne Green Lynn Hershman Dick Higgins Laurel Klick Steven Kolpan Jill Kroesen Robert Kushner Minnette Lehmann Lydia Lunch Paul McCarthy Tim Miller Frank Moore and Linda Mac Vernita Nemec Pat Oleszko Carolee Schneemann Barbara Smith Annie Sprinkle and Veronica Vera Hannah Wilke PART TWO food Introduction by Moira Roth Jerri Allyn Nancy Barber John Cage Angelika Festa Howard Fried Joan Jonas Alison Knowles Leslie Labowitz Suzanne Lacy Les Levine Antoni Miralda Susan Mogul Faith Ringgold Rachel Rosenthal Martha Rosler Richard Schechner Bonnie Sherk Stuart Sherman Anne Tardos and Jackson Mac Low PART THREE money/fame Introduction by Laura Cottingham Eleanor Antin Robert Ashley Bob and Bob Eric Bogosian Nancy Buchanan Linda Frye Burnham Papo Colo Lowell Darling Steven Durland Simone Forti Mel Henderson Julia Heyward Mikhail Horowitz Allan Kaprow Tom Marioni Meredith Monk Jim Pomeroy Willoughby Sharp Michael Smith Martin Von Haselberg Martha Wilson PART FOUR ritual/death Introduction by Lucy R. Lippard Marina Abramovicˇ and Ulay Helene Aylon Chris Burden John Cage Ping Chong George Coates Betsy Damon Terry Fox Cheri Gaulke Alex Grey Deborah Hay Geoffrey Hendricks Donna Henes Kim Jones Alistair MacLennan Ann Magnuson Ruth Maleczech Paul McMahon Ana Mendieta Hermann Nitsch Lorraine O’Grady Morgan O’Hara Pauline Oliveros Adrian Piper Jerome Rothenberg Brian Routh Robert Schuler Theodora Skipitares Stelarc Elaine Summers Fiona Templeton Mierle Laderman Ukeles William Wegman Paul Zaloom Ellen Zweig Afterword: Quicksilver and Revelations: Performance Art at the End of the Twentieth Century, by Kristine Stiles Biographies Index

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Book SynopsisExamines the movie, "The Lord of the Rings", its scripting and design and technologies deployed to produce the films, video games, and DVDs. This book demonstrates the impact "Rings" had on the companies that made it, on the fantasy genre, on New Zealand, and on independent cinema.Trade Review"The Frodo Franchise is the best case study yet written about film as a commodity in the global marketplace." -- Stephen Prince Film Quarterly "For any person interested in the role of franchise film making on modern Hollywood, The Frodo Franchise should be considered required reading." -- Terry Hobgood Film International "A lively and quick read that should appeal to scholars and fans alike." Tolkien Studies "It's always more satisfying to follow the art than the money, but in this comprehensive study you can do both." -- Richard Von Busack Metro Newspapers "Whether you are a film scholar, a student, or a Tolkien enthusiast, you will benefit from her [Thompson's] efforts." Journal Of Popular CultureTable of ContentsList of Illustrations Preface and Acknowledgments List of Interviews Abbreviations Introduction: Sequel-itis PART ONE: THE FILM 1. Prudent Aggression 2. Not Your Father's Tolkien 3. Handcrafting a Blockbuster PART TWO: BUILDING THE FRANCHISE 4. Flying Billboards and FAQs 5. Click to View Trailer 6. Fans on the Margins, Pervy Hobbit Fanciers, and Partygoers PART III: BEYOND THE MOVIE 7. Licenses to Print Money 8. Interactive Middle-earth PART IV: THE LASTING POWER OF THE RINGS 9. Fantasy Come True 10. Right in Your Own Backyard Notes Index

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Book SynopsisTakes a comprehensive view of short-subject slapstick comedy in the early sound era. Challenging the received wisdom that sound destroyed the slapstick tradition, the author explores the slapstick short's Depression-era development against a backdrop of changes in film industry practice, comedic tastes, and moviegoing culture.Trade Review"King thus explores a series of critical questions about how cultural forms dwindle and reemerge... his work points toward a new avenue of research worth looking into when considering alternative constructions of American film history; instead of breaking down the myths that haunt much of film scholarship, the development of these very myths may reveal more about cultural consciousness." * Film Quarterly *"King’s approach is thoroughly revisionist, a genre history as grounded in the archive and the trade press as it is in the screening room, one that seeks to dramatically expand which films matter. ... Hokum! is a triumph! King demonstrates what happens in an era of expanded access to archival texts that are now more widely available on DVD, the digitization of trade press reports, and the ongoing refinement of film historiography. At the risk of ending on an unapologetically bad pun, comedy has a new King. " * Journal for Cinema and Media Studies *Table of ContentsList of Illustrations and Audiovisual Media Acknowledgments Introduction PART I. CONTEXTS 1. “The Cuckoo School”: Humor and Metropolitan Culture in 1920s America 2. “The Stigma of Slapstick”: The Short-Subject Industry and Its Imagined Public PART II. CASE HISTORIES 3. “The Spice of the Program”: Educational Pictures and the Small-Town Audience 4. “I Want Music Everywhere”: Music, Operetta, and Cultural Hierarchy at the Hal Roach Studios 5. “From the Archives of Keystone Memory”: Slapstick and Re-membrance at Columbia Pictures’ Short-Subjects Department Coda: When Comedy Was King List of Abbreviations Notes Index

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Book SynopsisThe king of radio comedy from the Great Depression through the early 1950s, Jack Benny was one of the most influential entertainers in twentieth-century America. A master of comic timing and an innovative producer, Benny, with his radio writers, developed a weekly situation comedy to meet radio's endless need for new material, at the same time integrating advertising into the show's humor. Through the character of the vain, cheap everyman, Benny created a fall guy, whose frustrated struggles with his employees addressed mid-century America's concerns with race, gender, commercialism, and sexual identity. Kathryn H. Fuller-Seeley contextualizes her analysis of Jack Benny and his entourage with thoughtful insights into the intersections of competing entertainment media and argues that transmedia stardom, branded entertainment, and virality are, in fact, the newest versions of key elements in the history of American popular culture.Trade Review"By discussing in depth the ways the show was and wasn’t distributed during and after its initial run (including the balance of radio stations carrying the show vs. TV stations carrying the show throughout the ‘50s), Fuller-Seeley makes the book itself an intermedia experience, encouraging readers to contribute to the vital work of media archiving." * Splitsider *“…a deeply researched and powerfully argued analysis of Benny’s persona, productions, distribution, advertising, and sponsorship from the early 1930s through the late 1950s. …It is a must-read for scholars seeking to understand the inner workings, products, and impact of mass media and intermedia develop­ment, consumer culture, and celebrity culture during the heyday of mid-twentieth-century American commercial radio broadcasting and how to write about such issues incisively and inclusively.” * The Journal of American History *"Kathryn H. Fuller-Seeley’s monograph on Jack Benny provides the first full-length scholarly account of the comedian’s influential broadcasting career, which began in 1932 and ended with his death in 1974. As well as discussing his film and television work, she presents an extremely detailed analysis of Benny’s long-running, but largely overlooked, multifaceted radio program (1932–1955) which she calls his ‘greatest achievement’." * Historical Journal of Film Radio and Television *Table of ContentsList of Illustrations Acknowledgments Introduction 1 • Becoming Benny: Th e Development of Jack Benny’s Character-Focused Comedy for Radio 2 • “What Are You Laughing at, Mary?” Mary Livingstone’s Comic Voice 3 • Masculine Gender Identity in Jack Benny’s Humor 4 • Eddie Anderson, Rochester, and Race in 1930s Radio and Film 5 • Rochester and the Revenge of Uncle Tom in the 1940s and 1950s 6 • Th e Commercial Imperative: Jack Benny, Advertising, and Radio Sponsors 7 • Jack Benny’s Intermedia Juggling of Radio and Film 8 • Benny at War with the Radio Critics 9 • Jack Benny’s Turn Towards Television Conclusion Notes Bibliography Index

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Book SynopsisA free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Celluloid Democracy tells the story of the Korean filmmakers, distributors, and exhibitors who reshaped cinema in radically empowering ways through the decades of authoritarian rule that followed Korea's liberation from Japanese occupation. Employing tactics that ranged from representing the dispossessed on the screen to redistributing state-controlled resources through bootlegging, these film workers explored ideas and practices that simultaneously challenged repressive rule and pushed the limits of the cinematic medium. Drawing on archival research, film analysis, and interviews, Hieyoon Kim examines how their work foregrounds a utopian vision of democracy where the ruled represent themselves and access resources free from state suppression. The first book to offer a history of film activism in post-1945 South Korea

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Book SynopsisMagic, During suggests, has helped shape modern culture. Devoted to this deceptively simple proposition, During's work gets at the aesthetic questions at the very heart of the study of culture. How can the most ordinary arts—and by “magic,” During means not the supernatural, but the special effects and conjurings of magic shows—affect people?Trade ReviewSimon During’s book shows deep, wide reading in an awe-inspiring range of disciplines, including urban history, German Romantic philosophy, and modern cultural critiques of consumption… Modern Enchantments is a richly informed, warmly argued addition to the growing number of books in which writers worry at the pervasive blurring of distinctions between act and appearance, organic consciousness and artificial intelligence, imagination and empirical experience, illusion and thought, reality TV and real life, dreams and money. -- Marina Warner * Financial Times *A well-researched and finely paced history of performance magic… During’s history and analysis is certainly thorough and compelling. -- James Flint * The Guardian *The first major academic work on secular magic—magic that makes no claim to the supernatural. The historical research is outstanding, while presented in an entertaining, indeed quite charming, manner. Yet Modern Enchantments is not only a pleasurable account of perhaps forgotten histories… During uses secular magics and their audiences to profoundly problematise assumptions that general culture does not have a plurality of modes of engaging with quite sophisticated nihilisms, materialisms, depths and depthlessnesses of a non-spiritual kind. -- Andrew Murphie * Australian Humanities Review *[This] is the first comprehensive academic history of stage magic, the product of vast research, and rewarding to read. -- Fred Nadis * Technology and Culture *During documents the extent to which magic and magical thinking have pervaded, and continue to pervade, secular life…the author examines 19th- and 20th-century theatrical magic and ‘commercial conjuring’ with great sensitivity to the social and cultural context in the Western world. Equally fascinating is the analysis of magic and early film. -- R. Sugarman * Choice *The erudition behind this book is massive, and as a critical act of sorting and synthesizing so vast a range of materials, it is impressively canny. -- James Chandler, author of England in 1819: the Politics of Literary Culture and the Case of Romantic HistoricismModern Enchantments offers a history of ‘secular,’ or non-supernatural, or entertainment magic as an important but neglected constituent of modern culture… During moves confidently across three centuries of magic (and covers aspects of a few more besides). The sheer wealth of historical detail he provides is impressive, but no less impressive is the subtlety of his argumentation, and the suggestiveness of his claims… This extremely significant piece of work will appeal to literary critics, historians, and not least, devotees of magic. -- Nicholas Daly, author of Modernism, Romance, and the Fin de Siècle: Popular Fiction and British Culture, 1880–1914Modern Enchantments is a magisterial, breathtaking book. Magic is everywhere, During notes, from the simple act of naming to the complicated technologies of the cinema. By connecting performance and religion, he brilliantly shows how older forms of ritual magic find a new and different space in modern culture, reappearing as show business, advertising, and fiction making. This dazzling and stimulating book is sure to rekindle wide interest in spiritualism and magic as makers of modern culture. Modern Enchantments is cultural history at its best. -- Gauri Viswanathan, author of Outside the Fold: Conversion, Modernity, and BeliefTable of ContentsAcknowledgments 1. Magic History: An Introduction 2. Enchantment and Loss: Theorizing Secular Magic 3. Egg-Bag Tricks and Electricity: The Founding of Modern Commercial Conjuring 4. Magic's Moment: The Illusion Business 5. From Magic to Film 6. Magic and Literature 7. Magic Places: The Lyceum and the Great Room, Spring Gardens 8. Spiritualism and the Birth of Optical Technologies Notes Index

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Book SynopsisWidely regarded as the Shakespeare of Persia, Bahram Beyzaie remains largely unknown to the English-speaking world. Naqqali Trilogy blends traditional Iranian storytelling with contemporary philosophy and technique in a cycle of mythological revisionism. This volume presents a pinnacle of world drama for the first time in English translation.

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Book SynopsisA critical history of filmmaking in Atlantic Canada from the early days of art cinema to the contemporary media industry.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisHow do bad girls get away with it? How did Madonna, subject of public outcry for her controversial performances and her book Sex, become a superstar of pop culture and a role model for teenage girls? Why now, as star of Evita and a new mother, is she becoming a mainstream hero?Karlene Faith says that Madonna signifies the times we live in. We are, in a sense, all responsible for who Madonna is. As fans, moral critics, media journalists, or university scholars, we mediate what she means to our society. And Madonna, as a shrewd career woman, has known how to exploit our attentions with her multiple talents. Her representation of sexual practices and values has not taken place in a political or social vacuum. She has counted on our readiness to witness the smashing of cultural taboos. Feminist reactions to Madonna have been divided. In her early career Madonna was a teenage role model, applauded as a liberated sex crusader. Later, she raised eyebrows by portraying cynicTrade Review'This book will be better at getting Much TV students to successfully learn about academic feminism that the usual dead-dry fare. In her discussion of the meaning of Madonna, Faith pulls in all the big guns of feminist theory and aims them at a living post-modern Bitch, rather than the pale and quite ghosts of writers life Woolf and Austen.' -- Caroline Harvey The Vancouver Sun

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Book SynopsisRust Belt Burlesque traces the history of burlesque in Cleveland from the 1800s to the present, while also telling the story of Bella Sin, a Mexican immigrant who largely drove Northeast Ohio’s burlesque comeback. Over 100 color photos provide a peek into the raucous Ohio Burlesque Festival that packs the Beachland Ballroom every year.Trade Review“This is no eat-your-vegetables history book. Scholarship and entertainment go hand in hand to make the most of a fun, racy topic. O’Brien does a brilliant job of illuminating the past and introducing readers to the the current crop of entertainers, and Perkoski’s photos knock it out of the park.”

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Book SynopsisTrade Review"In this ambitious book, Mooney seeks to give a broad-based sense of the influence of Dashiell Hammett’s writings on Hollywood film, demonstrating both great knowledge of and enthusiasm for Hammett’s work." -- William Luhr * Saint Peter's University *"William Mooney's comprehensive survey of Dashiell Hammett's afterlife in the movies combines a logical core Sam Spade would admire with a story that moves as fast as the Continental Op." -- Thomas Leitch * author of Film Adaptation and Its Discontents *"In this ambitious book, Mooney seeks to give a broad-based sense of the influence of Dashiell Hammett’s writings on Hollywood film, demonstrating both great knowledge of and enthusiasm for Hammett’s work." -- William Luhr * Saint Peter's University *"William Mooney's comprehensive survey of Dashiell Hammett's afterlife in the movies combines a logical core Sam Spade would admire with a story that moves as fast as the Continental Op." -- Thomas Leitch * author of Film Adaptation and Its Discontents *Table of ContentsAcknowledgmentsIntroduction1 Three Early Films: Roadhouse Nights (1930), City Streets (1931), and Mister Dynamite (1935)2 The Thin Man (1934)3 After The Thin Man: From Sequel to Series4 Woman in the Dark (1934) and Watch on the Rhine (1943)5 The Maltese Falcon (1931), Satan Met a Lady (1936), andThe Maltese Falcon (1941)6 The Glass Key (1935 and 1942)7 Hammett in Retrospect: Miller’s CrossingConclusionNotesBibliographyIndex

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Book SynopsisTrade ReviewWhile sometimes derided as superficial by inattentive critics, the truth is that Miami Vice offered visually groundbreaking and philosophically rich crime drama that reflects the legacy of film noir and has been tremendously influential on subsequent television. No one sees that more clearly than Steven Sanders, and no one who reads Sanders's thorough and insightful discussion of this landmark series will ever look at it the same way again.""- Aeon Skoble, co-editor of The Philosophy of TV Noir (with Steven Sanders);""In this slim volume, Steven Sanders offers a penetrating and surprisingly comprehensive examination of the artistic and thematic complexities of one of network television's most popular and critically acclaimed series. Written with both the enthusiasm of the fan and the perspicacity of the scholar, this book is accessible and yet never simplistic, a fitting tribute to Miami Vice itself, which was always entertaining yet thought-provoking. Sanders is especially to be praised for his thorough and careful analysis of production history, which provides a mine of useful information. His graceful, fluent prose is a joy to read.""- R. Barton Palmer, author Hollywood’s Dark Cinema: The American Film Noir and Joel and Ethan Coen

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Book SynopsisIn this comprehensive approach to Jewish humor focused on the relationship between humor and American Jewish practice, Jennifer Caplan calls us to adopt a more expansive view of what it means to do Jewish, revealing that American Jews have, and continue to, turn to humor as a cultural touchstone. Caplan frames the book around four generations of Jewish Americans from the Silent Generation to Millennials, highlighting a shift from the utilization of Jewish-specific markers to American-specific markers. Jewish humor operates as a system of meaning-making for many Jewish Americans. By mapping humor onto both the generational identity of those making it and the use of Judaism within it, new insights about the development of American Judaism emerge. Caplan''s explication is innovative and insightful, engaging with scholarly discourse across Jewish studies and Jewish American history; it includes the work of Joseph Heller, Larry David, Woody Allen, Seinfeld, the Coen brothers f

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Book SynopsisIn this comprehensive approach to Jewish humor focused on the relationship between humor and American Jewish practice, Jennifer Caplan calls us to adopt a more expansive view of what it means to do Jewish, revealing that American Jews have, and continue to, turn to humor as a cultural touchstone. Caplan frames the book around four generations of Jewish Americans from the Silent Generation to Millennials, highlighting a shift from the utilization of Jewish-specific markers to American-specific markers. Jewish humor operates as a system of meaning-making for many Jewish Americans. By mapping humor onto both the generational identity of those making it and the use of Judaism within it, new insights about the development of American Judaism emerge. Caplan''s explication is innovative and insightful, engaging with scholarly discourse across Jewish studies and Jewish American history; it includes the work of Joseph Heller, Larry David, Woody Allen, Seinfeld, the Coen brothers f

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Book SynopsisDance Improvisations is a book for teachers of dance and acting, choreographers, directors, and dance therapists. Methodical, yet inventive, this book offers highly structured techniques for developing dancers' ability to work together.

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Book SynopsisAndy's first hilarious and hectic year in the world of comedyTrade Review"A great read and highly recommended!" -- Inspire Magazine"Totally unputdownable and our book of the year." -- Sorted Magazine"Meticulously accurate, entertaining, surprisingly moving. Kind projects an accessible, warm, upbeat demeanour that makes for an easily enjoyable read." Chortle.co.uk (Chortle is the major comedy website in the UK) -- Chortle.co.uk

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Book SynopsisIn her landmark study Utopia in Performance: Finding Hope at the Theatre, Jill Dolan departed from historical writings on utopia, which suggest that social reorganization and the redistribution of wealth are utopian efforts, to argue instead that utopia occurs in fragmentary utopian moments, often found embedded within performance. While Dolan focused on the utopian performative within a theatrical context, this volume, edited by Rachel Bowditch and Pegge Vissicaro, expands her theories to encompass performance in public life from diasporic hip-hop battles, Chilean military parades, commemorative processions, Blackfoot powwows, and post-Katrina Mardi Gras to the Philadelphia Mummers Parade, Festas Juninas in Brazil, the Renaissance Fairs in Arizona, and neoburlesque competitions. How do these performances rehearse and enact visions of a utopic world? What can the lens of utopia and dystopia illuminate about the potential of performing bodies to transform communities, identities, values

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Book SynopsisWith wry humour, Shakespearean profundity and trenchant insight, Yunte Huang brings to life the story of the famous Siamese twins.Trade Review"In the follow-up to his Edgar Award-winning Charlie Chan biography, Huang uncovers ironies, paradoxes and examples of how Chang and Eng subverted what Leslie Fiedler called ‘the tyranny of the normal." -- Jane Ciabattari, BBC"It is a fascinating story..." -- Literary Review"Yunte Huang’s book Inseparable tells [a] remarkable story." -- The Times"After retiring in a small North Carolina town, they owned as many as 32 slaves and, between them, fathered at least 21 children. If that doesn't intrigue you—wait, how can that not intrigue you?" -- The 50 Best Books of 2018 - Newsweek"Yunte Huang is well placed to retell this extraordinary story of transnational celebrity and assimilation. Huang grew up in China... his Asian American focus is fresh and welcome." -- Times Literary Supplement

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Book SynopsisThis expansive guide covers the where, when, and how for every step of school play production, including play selection and adaptation, auditions, casting and dealing with disappointed students, budgeting, coaching actors, setting up a production team, rehearsals, publicity, and promotion.Table of ContentsAbout the Authors. PROLOGUE. "Welcome to the Theater". What You Can Expect from This Resource. ACT ONE: PLAY SELECTION. 1. "Magic to Do" Understanding Your Role as Director. 2. "One Brick at a Time" How to Get Started. 3. "Open a New Window" Other Options. 4. "Something Sort of Grandish" How to Select the Right Play ACT TWO: PRE-PRODUCTION CONSIDERATIONS. 5. "A Puzzlement" How to Unravel a Play s Meaning. 6. "Putting It Together" How to Lay Out a Rehearsal Schedule. 7. "Pick-a-little; Talk-a-little" How to Work With a Set Designer. 8. "Pretty Little Picture"What You Need to Know About Stage Properties. 9. "Let the Sunshine In" What You Need to Know About Stage Lighting. 10. "The Sound of Music" What You Need to Know About Sound and Special Effects. 11. "Put in Your Sunday Clothes"What You Need to Know About Costuming. 12. "Put on a Happy Face"What You Need to Know About Makeup. 13. "A Little Brains, A Little Talent" What Your Stage Manager Needs to Know. 14. "I Hope I Get It" How to Conduct Auditions. 15. "Matchmaker, Matchmaker" How to Make Intelligent Casting Decisions ACT THREE: REHEARSALS & PERFORMANCES. 16. "It's a Simple Little System" How to Get the Most Out of Rehearsals. 17. "Every Little Movement" How to Stage, or Block Your Play. 18. "Happy to Make Your Acquaintance" How to Help Actors Develop Characters. 19. "You've Got to Have Heart" How to Work with Actors. 20. "Agony" How to Direct Period Plays. 21. "With a Little Bit of Luck" How to Direct Your First Musical. 22. "Sit Down, You're Rocking the Boat"How to Run a Smooth Production ACT FOUR: AUDIENCE DEVELOPMENT. 23. "Who Will Buy?" What You Need to Know About tickets. 24. "You've Got to Have a Gimmick" What You Need to Know to Sell Your Production. 25. "You've Got to Be Carefully Taught" What You Need to Know About the Media. 26. "Look at Me, I'm Sandra Dee" What You Need to Know About Programs. 27. "Bea-u-ti-ful People of Denver" What You Need to Know About Audiences EPILOGUE: DIRECTORY. 28. "Life on the Wicked Stage" Acting/Directing Terms. 29. "Drop That Name" Odd Names for Technical Things. 30. "There's Gotta Be Something Better Than This" Theater Spaces. 31. "Perpetual Anticipation" Stages of the Production Process. 32. "Try to Remember" A List of Theatrical Forms. 33. "Let Me Entertain You" A List of Contemporary Plays for Beginning Directors. 34. "Losing My Mind" More Terms About Parts of Plays. 35. "The Little Things We Do Together" Players in a commercial Theater Organization. 36. "Who Can I Turn To?" A Selected Reading List for Beginning Directors.

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Book SynopsisVideo Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life.Table of ContentsAcknowledgments vii Introduction 1 1 Immediacy versus Memory: Video Art in Relation to Television, Performance Art, and Home Video 20 Gillian Wearing's Trauma (2000) Juxtaposed to Joan Jonas's Vertical Roll (1972) 23 Video Art Dealing with the Constant Movements of Audio-Visual Electronic Media, and the Immediacy and Socio-Cultural Aspects of Television 25 The Appeal of Immediacy: Video in Performance Art and Performance in Video Art 45 The Application of the Mnemonic Ability of Video and the Relationship with Activist-Videos and Home Video 60 2 Immateriality versus Three-Dimensionality: Video Art as Sculpture, Installation Art, Projection, and Virtual Medium 79 Lynn Hershman's Tillie the Telerobotic Doll (1995) Juxtaposed to Andy Warhol's Outer and Inner Space(1965) 82 Television as an Object: Sculpture or Part of Architecture 85 Spatial Video Installations and the Relationship with the Space of the Visitor 91 Projections on Spatial Positioned Screens, the Space of Sound, and Interaction with the Visitor 96 Immaterial Projections Interfering in Darkened Sites and Immersing the Viewer 104 Interacting in the Merged Physical and Digital Space 109 3 Moving Images Mediating as Contemplative Images: Video's Challenge of Photography, Drawing, and Painting 121 Kudzanai Chiurai's Iyeza (2012) Juxtaposed to Thierry Kuntzel's E´te´ – double vue (1988) 125 Video Art and Photography 130 Video Art and Drawing 140 Video Art and Painting 147 4 Repetition and Fragmentation in Narrative: Video's Appropriation and Subversion of Classical Cinema 164Candice Breitz's Mother + Father (2005) Juxtaposed to Rodney Graham's Vexation Island (1997) and Keren Cytter's Corrections (2013) 166 Aspects of Narrative in Video Art Reacting to Hollywood Films, and Views on Compulsive Repetition 169 The Tension between Images and Verbal Language as Dialog, Voice-over, Voice-off, or Text 180 In Lieu of a Conclusion 193 Index 199

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Book SynopsisLearn how emerging technologies benefit artists and performing arts organizations Raising the Curtain: Technology Success Stories from Performing Arts Leaders and Artists focuses on empowering artists and performing arts organizations in theater, dance, and music to grow audiences and to increase impact through smart and strategic uses of technology. This book will help you effectively increase your artistic and administrative reach in order to expand your outreach to diverse audiences, without breaking the bank. In fact, you'll be more efficient by choosing multi-function technologies that work for you. You'll also see how advanced software can extend your donor reachand ensure that you're contacting donors at the right time. You can also maximize your organization's brand by incorporating social media, AI tools, media streaming platforms, and more. Inside, you'll learn about the most useful tech tools out there, including a wide breadth of technology,

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Book SynopsisThe most up-to-date study of the Hollywood romantic comedy film, from the development of sound to the twenty-first century, this book examines the history and conventions of the genre and surveys the controversies arising from the critical responses to these films.Trade Review“Grindon’s contribution to the romantic comedy film bibliography is a valuable addition to the limited number of similar scholarly endeavors, and it seems well-designed for classroom use—not just for teaching the particular films he discusses, but also for teaching methodology. The romantic comedy genre has rarely received the sort of academic recognition it deserves, but students, film scholars, romance scholars, and rom-com enthusiasts all over the world will find The Hollywood Romantic Comedya fine introduction to this culturally and politically significant film genre.” (Journal of Popular Romance Studies, 1 October 2012) "The romantic comedy genre has rarely received the sort of academic recognition it deserves, but students, film scholars, romance scholars, and rom-com enthusiasts all over the world will find The Hollywood Romantic Comedy a fine introduction to this culturally and politically significant film genre." (Journal of Popular Romance Studies, 15 October 2012) "Summing Up: Recommended. Lower-division undergraduates through faculty and professionals; general readers." (Choice, 1 September 2011)Table of ContentsList of Plates ix Acknowledgements xi 1 Introduction 1 2 History, Cycles, and Society 25 3 Thinking Seriously About Laughter and Romance 67 4 Trouble in Paradise (1932): What is the Trouble in Paradise? 84 5 His Girl Friday (1940): Jailbreak! 96 6 The Miracle of Morgan’s Creek (1944): The Home Front Romantic Comedy 106 7 Adam’s Rib (1949): Anatomy Lesson 117 8 Some Like It Hot (1959): Riding Sidesaddle 129 9 The Graduate (1967): Counter-Conventions and Cultural Change 139 10 Annie Hall (1977): The Trials of Partnership 150 11 When Harry Met Sally (1989): Friendship, Sex, and Courtship 160 12 There’s Something About Mary (1998): Parody and the Grotesque 171 13 Waitress (2007): Women’s Ambivalence 181 A Chronology of Prominent Hollywood Romantic Comedies 191 References 195 Index 201

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Book SynopsisThe Performing Arts provides an accessible, yet sophisticated, introduction to the philosophical issues concerning the artistic performance.Trade Review“This is a remarkable and remarkably useful book, and for much the same reason … The other result is that professionals in the philosophy of art will have to rise to the challenge. Davies has set the bar very high.” (Oxford Journals Clippings, 4 May 2012) "Philosophy of the Performing Arts is a careful and detailed study in analytic philosophical aesthetics ... Summing Up: Highly recommended. Graduate students through professional/practitioners." (Choice, 1 January 2012)Table of ContentsPreface and Acknowledgments viii Part One Performance and the Classical Paradigm 1 1 The Nature of Artistic Performance 3 1 Introduction 3 2 What is a Performance? 4 3 Institutional Theories of Artistic Performance 7 4 Aesthetic Theories of Artistic Performance 10 5 Artistic Performance and Artistic Regard 14 6 Overview 17 2 The Classical Paradigm I: The Nature of the Performable Work 23 1 Introduction: Berthold and Magda Go to the Symphony 23 2 The Multiple Nature of Performable Works 24 3 Performable Works as Types 29 4 Varieties of Type Theories: Sonicism, Instrumentalism, and Contextualism 32 5 Other Theories of the Performable Work 38 3 The Classical Paradigm II: Appreciating Performable Works in Performance 51 1 Introduction: Talking Appreciatively about Performable Works 51 2 Can Performable Works Share Artistic Properties with Their Performances? 53 3 The Goodman Argument 57 4 Answering the Goodman Argument 62 4 Authenticity in Musical Performance 71 1 Introduction 71 2 Authenticity in the Arts 72 3 Three Notions of Historically Authentic Performance 74 5 Challenges to the Classical Paradigm in Music 87 1 Introduction: The Classical Paradigm in the Performing Arts 87 2 The Scope of the Paradigm in Classical Music 90 3 Jazz, Rock, and the Classical Paradigm 94 4 Non-Western Music and the Classical Paradigm 101 6 The Scope of the Classical Paradigm: Theater, Dance, and Literature 103 1 Introduction: Berthold and Magda Go to the Theater 103 2 Theatrical Performances and Performable Works 105 3 Challenges to the Classical Paradigm in Theater 112 4 Dance and the Classical Paradigm 120 5 The Novel as Performable Work? 128 Part Two Performance as Art 133 7 Performances as Artworks 135 1 Introduction: Spontaneous Performance in the Arts 135 2 The Artistic Status of Performances Outside the Classical Paradigm 138 3 The Artistic Status of Performances Within the Classical Paradigm 143 8 Elements of Performance I: Improvisation and Rehearsal 149 1 Introduction 149 2 The Nature of Improvisation 150 3 Improvisation and Performable Works: Three Models 154 4 Improvisation and Recording 160 5 The Place of Rehearsal in the Performing Arts 164 9 Elements of Performance II: Audience and Embodiment 172 1 Can There Be Artistic Performance Without an Audience? 172 2 Audience Response 181 3 The Embodied Performer and the Mirroring Receiver 189 10 Performance Art and the Performing Arts 200 1 Introduction 200 2 Some Puzzling Cases 201 3 What is Performance Art? 206 4 When Do Works of Performance Art Involve Artistic Performances? 209 5 Performance as Art: A Final Case 216 References 219 Index 226

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Book SynopsisThe Performing Arts provides an accessible, yet sophisticated, introduction to the philosophical issues concerning the artistic performance.Trade Review“This is a remarkable and remarkably useful book, and for much the same reason … The other result is that professionals in the philosophy of art will have to rise to the challenge. Davies has set the bar very high.” (Oxford Journals Clippings, 4 May 2012) "Philosophy of the Performing Arts is a careful and detailed study in analytic philosophical aesthetics ... Summing Up: Highly recommended. Graduate students through professional/practitioners." (Choice, 1 January 2012)Table of ContentsPreface and Acknowledgments viii Part One Performance and the Classical Paradigm 1 1 The Nature of Artistic Performance 3 1 Introduction 3 2 What is a Performance? 4 3 Institutional Theories of Artistic Performance 7 4 Aesthetic Theories of Artistic Performance 10 5 Artistic Performance and Artistic Regard 14 6 Overview 17 2 The Classical Paradigm I: The Nature of the Performable Work 23 1 Introduction: Berthold and Magda Go to the Symphony 23 2 The Multiple Nature of Performable Works 24 3 Performable Works as Types 29 4 Varieties of Type Theories: Sonicism, Instrumentalism, and Contextualism 32 5 Other Theories of the Performable Work 38 3 The Classical Paradigm II: Appreciating Performable Works in Performance 51 1 Introduction: Talking Appreciatively about Performable Works 51 2 Can Performable Works Share Artistic Properties with Their Performances? 53 3 The Goodman Argument 57 4 Answering the Goodman Argument 62 4 Authenticity in Musical Performance 71 1 Introduction 71 2 Authenticity in the Arts 72 3 Three Notions of Historically Authentic Performance 74 5 Challenges to the Classical Paradigm in Music 87 1 Introduction: The Classical Paradigm in the Performing Arts 87 2 The Scope of the Paradigm in Classical Music 90 3 Jazz, Rock, and the Classical Paradigm 94 4 Non-Western Music and the Classical Paradigm 101 6 The Scope of the Classical Paradigm: Theater, Dance, and Literature 103 1 Introduction: Berthold and Magda Go to the Theater 103 2 Theatrical Performances and Performable Works 105 3 Challenges to the Classical Paradigm in Theater 112 4 Dance and the Classical Paradigm 120 5 The Novel as Performable Work? 128 Part Two Performance as Art 133 7 Performances as Artworks 135 1 Introduction: Spontaneous Performance in the Arts 135 2 The Artistic Status of Performances Outside the Classical Paradigm 138 3 The Artistic Status of Performances Within the Classical Paradigm 143 8 Elements of Performance I: Improvisation and Rehearsal 149 1 Introduction 149 2 The Nature of Improvisation 150 3 Improvisation and Performable Works: Three Models 154 4 Improvisation and Recording 160 5 The Place of Rehearsal in the Performing Arts 164 9 Elements of Performance II: Audience and Embodiment 172 1 Can There Be Artistic Performance Without an Audience? 172 2 Audience Response 181 3 The Embodied Performer and the Mirroring Receiver 189 10 Performance Art and the Performing Arts 200 1 Introduction 200 2 Some Puzzling Cases 201 3 What is Performance Art? 206 4 When Do Works of Performance Art Involve Artistic Performances? 209 5 Performance as Art: A Final Case 216 References 219 Index 226

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Book SynopsisThis wide-ranging celebration of the variety and complexity of international film comedy covers work from the days of silent movies to the present on a global scale, including Europe, the Middle East and Asia as well as the United States.Trade Review“And of course, it very much is. An important subject needs an important companion. This is it. That’s all, folks.” (Reference Reviews, 1 January 2014) “This work is indispensible for any student or scholar who, in the spirit of Rabelais, Swift, and Chesterton, will laugh while studying film images. Summing Up: Highly recommended. Lower-division undergraduates and above; general readers.” (Choice, 1 July 2013) Table of ContentsNotes on Editors and Contributors ix Comic Introduction: ‘‘Make ’em Laugh, make ’em Laugh!’’ 1 Part I Comedy Before Sound, and the Slapstick Tradition 1 The Mark of the Ridiculous and Silent Celluloid: Some Trends in American and European Film Comedy from 1894 to 1929 15 Frank Scheide 2 Pie Queens and Virtuous Vamps: The Funny Women of the Silent Screen 39 Kristen AndersonWagner 3 ‘‘Sound Came Along and OutWent the Pies’’: The American Slapstick Short and the Coming of Sound 61 Rob King Part II Comic Performers in the Sound Era 4 MutiniesWednesdays and Saturdays: Carnivalesque Comedy and the Marx Brothers 87 Frank Krutnik 5 Jacques Tati and Comedic Performance 111 KevinW. Sweeney 6 Woody Allen: Charlie Chaplin of New Hollywood 130 David R. Shumway 7 Mel Brooks, Vulgar Modernism, and Comic Remediation 151 Henry Jenkins Part III New Perspectives on Romantic Comedy and Masculinity 8 Humor and Erotic Utopia: The Intimate Scenarios of Romantic Comedy 175 Celestino Deleyto 9 Taking Romantic Comedy Seriously in Eternal Sunshine of the Spotless Mind (2004) and Before Sunset (2004) 196 Leger Grindon 10 The View from the Man Cave: Comedy in the Contemporary ‘‘Homme-com’’ Cycle 217 Tamar Jeffers McDonald 11 The Reproduction of Mothering: Masculinity, Adoption, and Identity in Flirting with Disaster 236 Lucy Fischer Part IV Topical Comedy, Irony, and Humour Noir 12 It’s Good to be the King: Hollywood’s Mythical Monarchies, Troubled Republics, and Crazy Kingdoms 251 Charles Morrow 13 No Escaping the Depression: Utopian Comedy and the Aesthetics of Escapism in Frank Capra’s You Can’t Take it with You (1938) 273 William Paul 14 The Totalitarian Comedy of Lubitsch’s To Be or Not To Be 293 Maria DiBattista 15 Dark Comedy from Dr. Strangelove to the Dude 315 Mark Eaton Part V Comic Perspectives on Race and Ethnicity 16 Black Film Comedy as Vital Edge: A Reassessment of the Genre 343 Catherine A. John 17 Winking Like a One-Eyed Ford: American Indian Film Comedies on the Hilarity of Poverty 365 Joshua B. Nelson 18 Ethnic Humor in American Film: The Greek Americans 387 Dan Georgakas Part VI International Comedy 19 Alexander Mackendrick: Dreams, Nightmares, and Myths in Ealing Comedy 409 Claire Mortimer 20 Tragicomic Transformations: Gender, Humor, and the Plastic Body in Two Korean Comedies 432 Jane Park 21 Comedy ‘‘Italian Style’’ and I soliti ignoti (Big Deal on Madonna Street, 1958) 454 Roberta Di Carmine 22 ‘‘Laughter that Encounters a Void?’’: Humor, Loss, and the Possibility for Politics in Recent Palestinian Cinema 474 Najat Rahman Part VII Comic Animation 23 Laughter is Ten Times More Powerful than a Scream: The Case of Animated Comedy 497 Paul Wells 24 Theatrical Cartoon Comedy: From Animated Portmanteau to the Risus Purus 521 Suzanne Buchan Index 545

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Book SynopsisAn engaging account of today's contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship International in scope, bringing together over forty of the most important voices in the field, including Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan VerwoertTrade Review“Summing Up: Recommended. Upper-division undergraduates and above.” (Choice, 1 August 2013) Table of ContentsContributors ix INTRODUCTION 1 Alexander Dumbadze and Suzanne Hudson 1 THE CONTEMPORARY AND GLOBALIZATION 5 Worlds Apart: Contemporary Art, Globalization, and the Rise of Biennials 7 Tim Griffin “Our” Contemporaneity? 17 Terry Smith The Historicity of the Contemporary is Now! 28 Jean-Philippe Antoine 2 ART AFTER MODERNISM AND POSTMODERNISM 37 Elite Art in an Age of Populism 39 Julian Stallabrass “Of Adversity we Live!” 50 Monica Amor Making it Work: Artists and Contemporary Art in China 60 Pauline J. Yao 3 FORMALISM 70 Form Struggles 72 Jan Verwoert Formalism Redefined 84 Anne Ellegood The World in Plain View: Form in the Service of the Global 95 Joan Kee 4 MEDIUM SPECIFICITY 105 The (Re)Animation of Medium Specificity in Contemporary Art 107 Sabeth Buchmann Medium Aspecificity/Autopoietic Form 117 Irene V. Small Specificity 126 Richard Shiff 5 ART AND TECHNOLOGY 137 Test Sites: Fabrication 139 Michelle Kuo Inhabiting the Technosphere: Art and Technology Beyond Technical Invention 149 Ina Blom Conceptual Art 2.0 159 David Joselit 6 BIENNIALS 169 In Defense of Biennials 171 Massimiliano Gioni Curating in Heterogeneous Worlds 178 Geeta Kapur Biennial Culture and the Aesthetics of Experience 192 Caroline A. Jones 7 PARTICIPATION 202 Participation 204 Liam Gillick and Maria Lind The Ripple Effect: “Participation” as an Expanded Field 214 Johanna Burton Publicity and Complicity in Contemporary Art 224 Sofía Hernández Chong Cuy 8 ACTIVISM 232 Activism 234 Andrea Giunta Knit Dissent 245 Julia Bryan-Wilson Light from a Distant Star: A Meditation on Art, Agency, and Politics 254 Raqs Media Collective 9 AGENCY 265 Participation in Art: 10 Theses 267 Juliane Rebentisch Fusions of Powers: Four Models of Agency in the Field of Contemporary Art, Ranked Unapologetically in Order of Preference 277 Tirdad Zolghadr Life Full of Holes: Contemporary Art and Bare Life 287 T. J. Demos 10 THE RISE OF FUNDAMENTALISM 298 Monotheism à la Mode 300 Sven Lütticken Freedom’s Just Another Word 311 Terri Weissman On the Frontline: The Politics of Terrorism in Contemporary Pakistani Art 322 Atteqa Ali 11 JUDGMENT 331 Judgment’s Troubled Objects 333 João Ribas A Producer’s Journal, or Judgment A Go-Go 346 Frank Smigiel After Criticism 357 Lane Relyea 12 MARKETS 367 Globalization and Commercialization of the Art Market 369 Olav Velthuis Three Perspectives on the Market 379 Mihai Pop, Sylvia Kouvali, and Andrea Rosen Untitled 388 Ayreen Anastas and Rene Gabri 13 ART SCHOOLS AND THE ACADEMY 406 Lifelong Learning 408 Katy Siegel Art without Institutions 420 Anton Vidokle Will the Academy Become a Monster? 429 Pi Li 14 SCHOLARSHIP 436 Our Literal Speed 438 Our Literal Speed Globalization, Art History, and the Specter of Difference 447 Chika Okeke-Agulu The Academic Condition of Contemporary Art 457 Carrie Lambert-Beatty Index 467

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Book SynopsisAn engaging account of today's contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship International in scope, bringing together over forty of the most important voices in the field, including Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan VerwoertTrade Review“Interesting and pertinent topics [covered] are the globalization of the art world, the expansion of biennial and art fairs as venues, the use of technology as a medium, the theme of social activism, and the relevant education of the studio artist … The essays are consistently well written and include copious notes … Recommended.” Choice (1 August 2013) Table of ContentsContributors ix INTRODUCTION 1 Alexander Dumbadze and Suzanne Hudson 1 THE CONTEMPORARY AND GLOBALIZATION 5 Worlds Apart: Contemporary Art, Globalization, and the Rise of Biennials 7 Tim Griffin “Our” Contemporaneity? 17 Terry Smith The Historicity of the Contemporary is Now! 28 Jean-Philippe Antoine 2 ART AFTER MODERNISM AND POSTMODERNISM 37 Elite Art in an Age of Populism 39 Julian Stallabrass “Of Adversity we Live!” 50 Monica Amor Making it Work: Artists and Contemporary Art in China 60 Pauline J. Yao 3 FORMALISM 70 Form Struggles 72 Jan Verwoert Formalism Redefined 84 Anne Ellegood The World in Plain View: Form in the Service of the Global 95 Joan Kee 4 MEDIUM SPECIFICITY 105 The (Re)Animation of Medium Specificity in Contemporary Art 107 Sabeth Buchmann Medium Aspecificity/Autopoietic Form 117 Irene V. Small Specificity 126 Richard Shiff 5 ART AND TECHNOLOGY 137 Test Sites: Fabrication 139 Michelle Kuo Inhabiting the Technosphere: Art and Technology Beyond Technical Invention 149 Ina Blom Conceptual Art 2.0 159 David Joselit 6 BIENNIALS 169 In Defense of Biennials 171 Massimiliano Gioni Curating in Heterogeneous Worlds 178 Geeta Kapur Biennial Culture and the Aesthetics of Experience 192 Caroline A. Jones 7 PARTICIPATION 202 Participation 204 Liam Gillick and Maria Lind The Ripple Effect: “Participation” as an Expanded Field 214 Johanna Burton Publicity and Complicity in Contemporary Art 224 Sofía Hernández Chong Cuy 8 ACTIVISM 232 Activism 234 Andrea Giunta Knit Dissent 245 Julia Bryan-Wilson Light from a Distant Star: A Meditation on Art, Agency, and Politics 254 Raqs Media Collective 9 AGENCY 265 Participation in Art: 10 Theses 267 Juliane Rebentisch Fusions of Powers: Four Models of Agency in the Field of Contemporary Art, Ranked Unapologetically in Order of Preference 277 Tirdad Zolghadr Life Full of Holes: Contemporary Art and Bare Life 287 T. J. Demos 10 THE RISE OF FUNDAMENTALISM 298 Monotheism à la Mode 300 Sven Lütticken Freedom’s Just Another Word 311 Terri Weissman On the Frontline: The Politics of Terrorism in Contemporary Pakistani Art 322 Atteqa Ali 11 JUDGMENT 331 Judgment’s Troubled Objects 333 João Ribas A Producer’s Journal, or Judgment A Go-Go 346 Frank Smigiel After Criticism 357 Lane Relyea 12 MARKETS 367 Globalization and Commercialization of the Art Market 369 Olav Velthuis Three Perspectives on the Market 379 Mihai Pop, Sylvia Kouvali, and Andrea Rosen Untitled 388 Ayreen Anastas and Rene Gabri 13 ART SCHOOLS AND THE ACADEMY 406 Lifelong Learning 408 Katy Siegel Art without Institutions 420 Anton Vidokle Will the Academy Become a Monster? 429 Pi Li 14 SCHOLARSHIP 436 Our Literal Speed 438 Our Literal Speed Globalization, Art History, and the Specter of Difference 447 Chika Okeke-Agulu The Academic Condition of Contemporary Art 457 Carrie Lambert-Beatty Index 467

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