Performing arts Books

Book SynopsisPrestige Television explores how a growing array of 21st century US programming is produced and received in ways that elevate select series above the competition in a saturated market. Contributing authors demonstrate that these shows are positioned and understood as comprising an increasingly recognizable genre characterized by familiar markers of distinction. In contrast to most accounts of elite categorizations of contemporary US television programming that center on HBO and its primary streaming rivals, these essays examine how efforts to imbue series with prestigious or elevated status now permeate the rest of the medium, including network as well as basic and undervalued premium cable channels. Case study chapters focusing on diverse series, ranging from widely recognized examples such as The Americans (2013-2018) and The Knick (2014-15) to contested examples like Queen of the South (2016-2021) and How I Met Your Mother (2005-2014), highlight how contributing authors extend conceptions of the genre beyond expected parameters. Trade Review“Seth Friedman and Amanda Keeler prompt us to rethink conventional wisdom about 'Quality TV' and explore a rich terrain that combines TV industry strategies and textual expressions. The book makes a wonderful contribution to the study of recent and contemporary television and its shifting cultural status.” -- Michael Z. Newman * Professor of English and Media, Cinema, and Digital Studies, University of Wisconsin-Milwaukee *“Closely examining the ways in which industrial, textual, paratextual, and contextual factors have shaped the category of prestige television programming in the 21st century, Seth Friedman and Amanda Keeler invite us to ponder if prestige television should perhaps be recognized as a new genre. This rich and timely volume is a must read for scholars, students, and TV fans alike.” -- Yeidy Rivero * author of Broadcasting Modernity: Cuban Commercial Television, 1950-1960 *Table of ContentsIntroduction 1 SETH FRIEDMAN AND AMANDA KEELERPart I The Fringes of Prestige TV: Genre and Markers of Distinction 1 Spies Like Us: Genre Mixing, Brand Building, and Reagan’s 1980s in The Americans DAVID R. COON 2 Disrupting the Pattern of Prestige TV: Fringe AMANDA KEELER 3 “But Is It Star Trek?”: Prestige, Fandom, and the Return of Star Trek to Television MURRAY LEEDER 4 Negotiating Prestige on The CW: Is Roswell, New Mexico “Another Show about Teenagers Getting F-cked Up and Having Sex” or a Sophisticated Exploration of Racial and Gender Politics? CATHERINE MARTINPart II How Contemporary Programming Met Prestige TV: Unconventional Depictions of Cultural and Televisual Norms 5 Prestige Adaptation by Design: The Commercial Appeal of Latinx Tropes in Queen of the South JAVIER RAMIREZ 6 “Tell Them We Are Gone”: Imperial Narratives, Indigenous Perspectives, and Prestige in The Terror JUSTIN O. RAWLINS 7 Prestige Comedy: Contemporary Sitcom Narrative and Complexity in How I Met Your Mother ANDRE W J. BOTTOMLEYPart III Top of the Media Hierarchy: Cinematization and Television’s Elevation 8 Running The Knick Show: Transfusing Steven Soderbergh’s Authorial Persona into the Prestige Medical Series SETH FRIEDMAN 9 Legitimating Top of the Lake: Jane Campion, the Film Fest, and the Miniseries W. D. PHILLIPS 10 Specters of Serling: Authorship, Television History, and Inherited Prestige in The Twilight Zone (2019–2020) JOSIE TORRES BARTH Acknowledgments Selected Bibliography Notes on Contributors Index

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Book SynopsisBefore 2010, there were no Israeli horror films. Then distinctly Israeli serial killers, zombies, vampires, and ghosts invaded local screens. The next decade saw a blossoming of the genre by young Israeli filmmakers. New Israeli Horror is the first book to tell their story. Through in-depth analysis, engaging storytelling, and interviews with the filmmakers, Olga Gershenson explores their films from inception to reception. She shows how these films challenge traditional representations of Israel and its people, while also appealing to audiences around the world. Gershenson introduces an innovative conceptual framework of adaptation, which explains how filmmakers adapt global genre tropes to local reality. It illuminates the ways in which Israeli horror borrows and diverges from its international models. New Israeli Horror offers an exciting and original contribution to our understanding of both Israeli cinema and the horror genre. A companion website to this book is available at https://blogs.umass.edu/newisraelihorror/ (https://blogs.umass.edu/newisraelihorror/) Book trailer: https://youtu.be/oVJsD0QCORw (https://youtu.be/oVJsD0QCORw) Trade Review“This is a fantastic book that looks at the intellectual, industrial, funding, and reception contexts of Israeli horror but without bouncing between them like demented pinball. Instead, what we get is an extraordinarily integrated interdisciplinary account that should operate as an exemplar for horror scholarship for decades to come!” — Mark Jancovich, author of Horror and editor of Horror, The Film Reader “New Israeli Horror perceptively chronicles the origins and evolution of Israeli horror films. It brilliantly analyzes how this corpus of films replicated or subverted the familiar tropes of the horror genre and demonstrates that they possess implicit and eventually explicit relevance to the political and social conflicts within Israel.” — Lawrence Baron, author of Projecting The Holocaust Into The Present and editor of The Modern Jewish Experience in Wo "New Israeli Horror is the definitive study of Israeli cinema’s most unorthodox genre from its inception among a small group of students at Tel Aviv University to its success on the international film festival circuit and in online piracy in the Arab world. Through an examination of technology, financing, transnational adaptation, local and international reception, and interviews with filmmakers it deciphers the meanings behind the throng of serial killers in uniform, Palestinian ghosts, zombies, cannibals, and monsters from Jewish folklore that have invaded Israeli screens in this millennium." — Boaz Hagin, co-editor of Deeper Than Oblivion: Trauma and Memory in Israeli Cinema “This significant work charts the ways in which New Israeli Horror films offer a critique of the violence that lies at the heart of Israeli society, the damaging masculinity of the military machine, and the suppression of Palestinian trauma. The result is a hugely readable and subtly nuanced work that makes a substantive contribution to our understanding of both modern Israel and the horror genre’s ability to articulate national trauma. It’s essential reading for all with an interest in the genre and in national cinema more broadly.” — Linnie Blake, Manchester Metropolitan University and author of The Wounds of Nations: Horror Cinema, Historical TrTable of ContentsAcknowledgments Introduction 1 The Precursors: From The Angel Was a Devil to Frozen Days Part I Subversion 2 The First Hebrew Horror: Rabies 3 A Korean Revenge Thriller in the Israeli Countryside: Big Bad Wolves Part II Conversion 4 Horror in the IDF Zombies in the Fatigues: Poisoned and Cannon Fodder Freak Out: “The Final Boy” on the Base The Specters of Violence in The Damned 5 The Jewish Supernatural: JeruZalem 6 Slasher on the Kibbutz: Children of the Fall Part III Aversion 7 Escaping Israel: Another World, Madam Yankelova’s Fine Literature Club, and The Golem Coda: Is There I-Horror? Notes Index

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Book SynopsisBefore 2010, there were no Israeli horror films. Then distinctly Israeli serial killers, zombies, vampires, and ghosts invaded local screens. The next decade saw a blossoming of the genre by young Israeli filmmakers. New Israeli Horror is the first book to tell their story. Through in-depth analysis, engaging storytelling, and interviews with the filmmakers, Olga Gershenson explores their films from inception to reception. She shows how these films challenge traditional representations of Israel and its people, while also appealing to audiences around the world. Gershenson introduces an innovative conceptual framework of adaptation, which explains how filmmakers adapt global genre tropes to local reality. It illuminates the ways in which Israeli horror borrows and diverges from its international models. New Israeli Horror offers an exciting and original contribution to our understanding of both Israeli cinema and the horror genre. A companion website to this book is available at https://blogs.umass.edu/newisraelihorror/ (https://blogs.umass.edu/newisraelihorror/) Book trailer: https://youtu.be/oVJsD0QCORw (https://youtu.be/oVJsD0QCORw) Trade Review“This is a fantastic book that looks at the intellectual, industrial, funding, and reception contexts of Israeli horror but without bouncing between them like demented pinball. Instead, what we get is an extraordinarily integrated interdisciplinary account that should operate as an exemplar for horror scholarship for decades to come!” — Mark Jancovich, author of Horror and editor of Horror, The Film Reader “New Israeli Horror perceptively chronicles the origins and evolution of Israeli horror films. It brilliantly analyzes how this corpus of films replicated or subverted the familiar tropes of the horror genre and demonstrates that they possess implicit and eventually explicit relevance to the political and social conflicts within Israel.” — Lawrence Baron, author of Projecting The Holocaust Into The Present and editor of The Modern Jewish Experience in Wo "New Israeli Horror is the definitive study of Israeli cinema’s most unorthodox genre from its inception among a small group of students at Tel Aviv University to its success on the international film festival circuit and in online piracy in the Arab world. Through an examination of technology, financing, transnational adaptation, local and international reception, and interviews with filmmakers it deciphers the meanings behind the throng of serial killers in uniform, Palestinian ghosts, zombies, cannibals, and monsters from Jewish folklore that have invaded Israeli screens in this millennium." — Boaz Hagin, co-editor of Deeper Than Oblivion: Trauma and Memory in Israeli Cinema “This significant work charts the ways in which New Israeli Horror films offer a critique of the violence that lies at the heart of Israeli society, the damaging masculinity of the military machine, and the suppression of Palestinian trauma. The result is a hugely readable and subtly nuanced work that makes a substantive contribution to our understanding of both modern Israel and the horror genre’s ability to articulate national trauma. It’s essential reading for all with an interest in the genre and in national cinema more broadly.” — Linnie Blake, Manchester Metropolitan University and author of The Wounds of Nations: Horror Cinema, Historical TrTable of ContentsAcknowledgments Introduction 1 The Precursors: From The Angel Was a Devil to Frozen Days Part I Subversion 2 The First Hebrew Horror: Rabies 3 A Korean Revenge Thriller in the Israeli Countryside: Big Bad Wolves Part II Conversion 4 Horror in the IDF Zombies in the Fatigues: Poisoned and Cannon Fodder Freak Out: “The Final Boy” on the Base The Specters of Violence in The Damned 5 The Jewish Supernatural: JeruZalem 6 Slasher on the Kibbutz: Children of the Fall Part III Aversion 7 Escaping Israel: Another World, Madam Yankelova’s Fine Literature Club, and The Golem Coda: Is There I-Horror? Notes Index

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Book SynopsisThis book analyses an important phase in the interlingual dubbing process of audiovisual productions: the elaboration of target language scripts for the recording studios. Written by a practitioner in the industry who is also an academic and trainer, it provides practical know-how and guidelines while adopting a scholarly, structural and methodical approach. Supported by an exemplified, analytical and theoretical framework, it is non-language specific and discusses strategies and tricks of the trade. Divided into three parts, the book provides a descriptive, practical and analytical approach to dubbing and dialogue writing. The author analyses scripts drawn from her own professional practice, including initial drafts that illustrate the various transformations of a text throughout the rewriting process. She also offers a ‘backstage’ perspective, from first-hand experience in recording sessions that enabled knowledge of text manipulation, studio jargon, and the dubbing post production process. This publication will provide a valuable resource for novice dubbing translators and dialogue writers, while offering practitioner insights to scholars and researchers in the field of Audiovisual Translation, Film and Media Studies. Table of ContentsPart I: The Dialogue Writing Practice: A descriptive approach.- Chapter 1: Dialogue writing set in context.- Chapter 2: Bridging disciplines: analogies and applicable devices.- Part II: Strategies and Know-how: A practical approach.- Chapter 3: Dialogue Writing Itinerary.- Chapter 4: Dubbing Deliverables.- Chapter 5: Script components.- Chapter 6: Standards and practices.- Part III: Black Box Revealed: An analytical approach.- Chapter 7: Applied strategies.

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Book SynopsisShakespeare’s tragedies have been performed in the Sinophone world for over two centuries. Hamlet, Macbeth, and King Lear are three of the most frequently adapted plays. They have been re-imagined as political theatre, comedic parody, Chinese opera, avant-garde theatre, and experimental theatre in Hong Kong, China, and Taiwan. This ground-breaking anthology features the first English translations of seven influential adaptations from 1987 to 2007 across a number of traditional and modern performance genres in Beijing, Shanghai, Hong Kong, and Taipei. Each of the book's three sections offers a pair of two contrasting versions of each tragedy - in two distinct genres - for comparative analysis. This anthology is an indispensable tool for the teaching and research of Sinophone theatre's engagement with Western classics in the late twentieth and early twenty-first centuries. Table of ContentsChapter 1. Sinophone Shakespeares: A Critical Introduction, Alexa Alice Joubin Part 1. Existentialist Questions in Post-socialist China and Post-Martial-Law Taiwan Chapter 2. Hamlet as Political Theatre in Beijing: 哈姆雷特by Lin Zhaohua 林兆華 (1990), translated by Steven L. Riep and Ronald Kimmons and introduced by Steven Riep Chapter 3. Hamlet as Parody in Taipei: Shamlet 莎姆雷特 (Hamlet) by Lee Kuo-hsiu 李國修 (1992 / 2008), translated by Christopher Rea and introduced by Alexa Alice Joubin Part 2. Bewitched by Kunqu Opera and Avant-Garde Theatre Chapter 4. An Operatic Macbeth in Shanghai: Story of Bloody Hands 血手記 by Huang Zuolin 黃佐臨 (1987 / 2008), translated by Siyuan Liu and introduced by Alexa Alice Joubin Chapter 5. A Feminist Macbeth in Tainan: The Witches’ Sonata 女巫奏鳴曲．馬克白詩篇by Lü Po-shen呂柏伸 (2007), translated and introduced by Yilin Chen Part 3. Self-Identities in Traditional and Experimental Jingju Opera Chapter 6. A Confucian King Lear in Shanghai: King Qi’s Dream 岐王夢 (King Lear) by Shanghai Jingju Theatre Company (1995), translated by Dongshin Chang and introduced by Alexa Alice Joubin Chapter 7. A Buddhist King Lear in Taipei: Lear Is Here李爾在此by Wu Hsing-kuo 吳興國, Contemporary Legend Theatre (2001), translated and introduced by Alexa Alice JoubinChapter 8. Coda: Theatrical Bricolage of Hamlet, King Lear, Macbeth,and Othello in Beijing, 1986

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Book SynopsisThis edited book brings together new perspectives on fashion, the body, and politics. The intention of this collection is to explore the cultural intersection between bodies, fashion, and transgression, often in the most unlikely of locations. Bodies are political players in culture and the authors gathered here ask a range of pressing questions. What role do fashioned bodies play in resistance, in meeting governmental boundaries or institutional power? Arguably, fashion is an aspect of modern warfare and style can defend and attack in cultural space. So, how do fashioned bodies occupy the grey area between social control and the resistance to power? This book is interdisciplinary and international, with contributors situated within a broad range of disciplines including Art History and Critical Practice, Cultural Studies, Fashion Critical Studies, Film and Literary Studies, Performance Studies, Politics and International Studies, Sociology, Gender, Queer, LGBTI, and Critical Race Studies. Table of Contents1. Introduction: Fashion, Bodies, Transgression, Royce Mahawatte and Jacki WillsonSection 1, Dangerous Surfaces2. Contagion and the Excess of Gender, Race, and Commodity, Nigel Lezama, Cardi B’s Nails3. “Let me be your Stimmy Toy”: Fashioning Disability, Cripping Fashion, Jana Melkumova-Reynolds4. “Under False Colors”: Nineteenth-Century Masquerading Laws and Black Disabled Transgender Embodiment in Post-Civil War Memphis, Ardel Haefele-Thomas5. “One Club Fits All”: Male Embodiment in an Age of Homonormativity, Royce MahawatteSection 2, Fashion and Spatial Transgression6. The Politicisation of Palestinian Embroidery since 1948, Rachel Dedman7. Polish ‘Black Protests’: political dress and the politics of fashion, Alicja Raciniewska8. Performative Elegance: The Windrush Generation, Fashion and the Politics of Respectability, Telecia Kirkland.- Section 3 Embodiment and Abstract Boundaries9. Non-Norm-(Hard)-Core: Hood by Air’s Porn Archive, Francis Summers10. Consuming (beyond plain) Vanilla: ‘straight’ coupledom and illicit performativities on popular culture TV show Love Island, Jacki Willson11. Terrifying Beauty – Theatrical Self-Performance in Leonor Fini’s Art and Life, Andrea Kollnitz

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Book SynopsisThis book explores how productions of Shakespearean plays create meaning in specific communities, with special attention to issues of access, adaptation, and activism. Instead of focusing on large professional companies, it analyzes performances put on by community theatres and grassroots companies, and in applied drama projects. It looks at Shakespearean productions created by marginalized populations in Greater London, Harlem, and Los Angeles, a Hamlet staged in the remote Faroe Islands, and eco-theatre made in California’s Yosemite National Park. The book investigates why different communities perform Shakespeare, and what challenges, opportunities, and triumphs accompany the processes of theatrical production for both the artists and the communities in which they are embedded. Table of ContentsChapter 1: Community Shakespeare: Access, Adaptation, Activism.Chapter 2: Public Shakespeare: Public Works (New York City) and Public Acts (UK).Chapter 3: Identity Shakespeare: L.A. Women’s Shakespeare Company and Harlem Shakespeare Festival.Chapter 4: Island Shakespeare: Hamlet in the Faroe Islands.Chapter 5: Ecological Shakespeare: Shakespeare in Yosemite and the EarthShakes Alliance.

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Book SynopsisThis book engages with current debates around refugeedom by examining cultural production that represents and interrogates the construction of refugees and the refugee experience on the borders of contemporary Europe. The refugee subject is produced by discursive regimes and border practices inherited from colonial projects that construct the diametrically opposed concepts of citizen and refugee, and their attendant administrative sub-categories. In the early twenty-first century these categories have been strengthened by the politicisation of forced migration and the hardening of ‘Fortress Europe’. While the predominant response to the increasing numbers of refugees seeking asylum in Europe has been to harden the borders (regime), on the one hand, or to stress the common humanity of those displaced (refuge), on the other, this volume argues that both approaches result in refugees becoming objectified, othered, and abstracted as vectors of exile. It explores what recent cultural production can achieve in engaging with and representing issues of dispossession, detention and resettlement, and probes the limits of artistic potential to mediate the refugee experience. It examines transnational approaches to cultural production that both occupy and exceed the borders of Europe, with a focus on borderscapes, spaces of detention, and (neo-)colonialism. Bringing together original contributions from an international range of scholars, it analyses contemporary textual and visual representations of forced migration to argue that other forms of solidarity and hospitality towards refugees in Europe and beyond must be possible.Table of ContentsIntroduction1. Fiona Barclay (University of Stirling) and Beatrice Ivey (University of Sheffield), European Border Regimes and RefugeSection 1: Representing Refugees: Theory and Concept2. Claire Launchbury (University of Leeds), "How am I supposed to talk to you, or with you, or about you?" Transcultural memory border concepts and the refugee3. Hella Wiedmer-Newman (Hauser & Wirth gallery, Zurich), Unsettled: Narrativity and Documentation in George Drivas’s Laboratory of Dilemmas4. Asha Varadharajan (Queen’s University, Canada), “Gimme Shelter”: Identity, Habitation and Affect in Narratives of MigrationSection 2: Representing Detention5. Stephanie Hemelryk Donald and Kaya Davies Hayon (University of Lincoln), A Green Hell: Representations of Detention from Manus to Morton Hall6. Helen Brewer (Goldsmiths, University of London), Carceral Witnessing and the Spatial ImaginationSection 3 : Public Discourses of Refugeedom7. Béatrice Blanchet (Lyon Catholic University) Remapping the borderlands of Britain: the Calais “Jungle” and the enduring legacy of imperial frontier policing8. Terri Tomsky (University of Alberta) Dispossession in children’s storybooks: Visualizing experiences of migration9. Peter Arnds (Trinity College Dublin) Making Monsters out of Myths: Animal Metaphors in Populist Discourse on Forced Migration10. Siobhan Brownlie (University of Manchester) Discourses of Memory and Refugees/Asylum Seekers

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Book SynopsisThe impact of digital global media, geopolitical changes and migration demands new theorizations within memory studies. Despite the growing field of media memory studies, the impact from film and media studies has been scarce within memory studies. This unique study offers new theorizations of three crucial concepts for media memory studies: remediation, transculturality and the archive. This book takes a closer look at the media specificity of archival footage and how it is adapted, translated and appropriated. In its original approach this work reflects upon the role of documentary film images for the construction of memory. By merging film and media studies with memory studies the work offers multiple theoretical and methodological approaches for everyone interested in the heritage of audiovisual media: film and media scholars, memory scholars, historians, art historians, social scientists, librarians or archivists, curators and festival programmers alike.

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Book SynopsisDas Lehrbuch vermittelt einen kompakten Überblick einerseits der Epochen- und Nationalstile der Filmgeschichte, andererseits individueller Stile, wobei außer der Regie auch andere Bereiche filmischer Gestaltung wie Drehbuch, Kamera, Musik und Montage berücksichtigt werden. Über die in der Filmwissenschaft etablierten Klassifikationen hinaus stellt dieses Lehrbuch zudem stilistische Kontinuitäten heraus, die in einer epochenübergreifenden Perspektive als Varianten des Realismus, des Attraktionskinos oder des Minimalismus veranschaulicht werden. Neben dem Spielfilm kommen hierbei auch Gattungen wie der Dokumentar- und Experimentalfilm zur Sprache. Welcher besondere Stil – so wird ausblickend gefragt – kennzeichnet Filme, die nicht mehr in erster Linie im Kino, sondern im Fernsehen, auf DVD und via Internet zu sehen sind?Trade Review“… Das Buch dient sozusagen der Grundausbildung, dementsprechend sind seine Aussagen klar und prägnant … Das Buch sei nicht nur den Studenten in Mainz, sondern allen Studierenden in medien- und kulturwissenschaftlichen Studiengängen an Universitäten und Filmhochschulen und auch den entsprechend Lehrenden in Schule und Erwachsenenbildung sehr empfohlen.” (Wilbert Ubbens, in: Informationsmittel IFB, informationsmittel-fuer-bibliotheken.de, 2017)“… gibt einen umfassenden Überblick zur Theorie, Methodik und Geschichte des filmischen Stilbegriffs. … Mit Filmstile liegt ein gelungenes Lehrbuch vor. Überzeugend sind vor allem die Verbindung von geschichtlicher Darstellung mit prägnanten Beispielen sowie die Erweiterung des Stilbegriffs in Bezug auf stilistische Kontinuitäten und die Stilistik audiovisueller Medien. Die präzise Sprache sollte das Buch nicht nur für den universitären, sondern auch den schulischen Bereich interessant machen, in welchem die Interpretation leider noch oft Vorrang vor der stilistisch-wissenschaftlichen Analyse hat.” (Jesko Jockenhövel, in: MEDIENwissenschaft, Heft 4, 2016)“... ein weiteres Lehrbuch erschienen, das eine ebenso kompakte wie fundierte Einführung bietet. ... einem Blick auf die technischen Entwicklungen des Kinos, aber auch des Fernsehens und der Verbreitung von Filmen durchs Internet.” (Walter Gasperi, in: ray Filmmagazin, Heft 2, 2017)“... Das Buch widmet sich vor allem etablierten Zentren der Filmgeschichte ... ein elaboriertes Patchwork zur Filmgeschichte. ... Für eine filmgeschichtliche Systematik ist dieses Lehrbuch gut geeignet. Es sensibilisiert für stilistische Clusterbildungen. Demzufolge richtet es sich vorrangig an Lehrer, Dozenten und Studierende der film-, medien- und kulturwissenschaftlichen Zunft.” (Dr. Uwe Breitenborn, in: tv diskurs, Jg. 21, Heft 2, 2017)“Ein beeindruckendes Lehrbuch. ... Für alle, die in den Bereichen Film- und Kulturwissenschaft und Medienpädagogik tätig sind, eine sehr empfehlenswerte Lektüre ...” (in: Hans Helmut Prinzler, hhprinzler.de, 12. August 2016)Table of ContentsEpochal- und Nationalstile: Frühzeit des Kinos.- Stummfilm.- Tonfilm.- Modernes Kino.- Postmodernes/Postklassisches Kino.- Dokumentarfilm.- Experimentalfilm.- Individualstile: Regie-Stile.- Drehbuch-Stile.- Kamera- und Licht-Stile.- Filmmusik-Stile.- Architektur-/Ausstattungs-Stile.- Montage-Stile.- Stilistische Kontinuitäten: Realismus.- Fantastik.- Minimalismus.- Opulenz und Spektakel.- Stilistische Besonderheiten der audiovisuellen Medien: Kino.- Fernsehen.- Neue Medien/Internet.

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Book SynopsisTheater, Krise und Reform gibt einen Überblick über die aktuelle Situation der deutschen Theater, ihrer Krisen und Entwicklungsoptionen. Es beschreibt den Übergang vom hierarchisch organisierten Intendantenmodell zu einem Ensemblemodell mit einer modernisierten Unternehmenskultur und einer festen Einbindung der Ensembles in alle wichtigen Entscheidungen. Im ersten Teil wird das öffentlich finanzierte Theatersystem mit seinen chronischen Ungleichgewichten untersucht: Überproduktion, Finanzierungskrise, sinkende Legitimation und hierarchische Strukturen, mit dem Intendanten als Emblem eines veralteten Organisationsprinzips. Auf Basis von Veränderungspotentialen werden Reformen in der Leitung (Direktorium), Organisation (Matrix) und im Produktions- und Spielbetrieb entwickelt und vorgeschlagen. Table of ContentsEin Riese gerät ins Taumeln.- Einleitung.- Die gegenwärtige Krisensituation im öffentlichen deutschen Theatersystem.- Die Krise der Organisation.- Auf der Suche nach einer neuen Balance.- Für ein neues, zukunftsfähiges Theatersystem.

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Book SynopsisDie Theaterwissenschaft beruft sich gern auf den gemeinsamen Ursprung von Theorie und Theater. Ein Grund zu fragen, auf welche Weise akademische Diskurse Eingang in zeitgenössische Performances, Tanz- und Theaterinszenierungen finden und was diese umgekehrt zur Vermittlung oder sinnlichen Fremdwerdung theoretischen Wissens beitragen können. Untersucht werden die zahlreichen Verflechtungen und Unwägbarkeiten zwischen Theorie und Theater, die szenische Selbstreferenzialität und Widerständigkeit gegen die eigene Theoretisierbarkeit, die Herausforderungen im Umgang mit humanwissenschaftlichen, (post-)feministischen und queeren Theorien sowie der Stellenwert von Sprache, Sinn und Sinnlichkeit in zeitgenössischen Inszenierungen.Table of ContentsEndlose Fragen. Eine Einleitung.- Falsche Freunde. Von der Unversöhnbarkeit von Theater und Theorie.- Disco und Diskurs.- Enacting Theory.- (Feministische) Theorie und Alltag.- Post-)Feminismus als Theater?.- Theoriebezüge und -diskurse in der Queer Performance.- Eine Theorie theatraler Spracherfahrung bei Valère Novarina.- Theorie und Theater: Eine melancholische Beziehung.

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Book Synopsis​Das erste Handbuch zur Filmtheorie im deutschsprachigen Raum stellt in fundierten, aktuellen und von ausgewiesenen Fachleuten verfassten Artikeln zentrale Paradigmen, Grundlagen, Konzepte und methodische Ansätze der Filmtheorie vor. In ausführlichen und selbständigen Artikeln gibt das Handbuch einen Überblick über Themen und Debatten der Filmtheorie und arbeitet ihre Aktualität heraus. Es vermittelt einen umfassenden und systematischen Einblick in die Fachdiskussion und ihre interdisziplinäre Vernetzung.Table of ContentsFilmtheoretische Paradigmen: Ein historischer Überblick.- Theoretische Grundlagen filmischer Gattungen.- Theoretische Grundlagen der Filmgeschichte.- Theoretische Grundlagen der Filmästhetik.- Neue und transdisziplinäre Perspektiven der Filmtheorie.

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Book SynopsisWarum geht so eine Faszination vom Kino und den Filmen, die dort gezeigt werden, aus? Kann das Kino seine Wirkkraft behalten, in einer Zeit des Medienwandels durch Digitalisierung und Globalisierung, in der es möglich ist, Filme auf viele Weisen zu sehen: vom Minibildschirm des Handys bis zum Riesen-HD-Fernseher im Wohnzimmer? Dieser Band präsentiert eine kompakte Darstellung der verschiedensten Aspekte von Film und Kino aus einer kommunikationswissenschaftlichen Perspektive und er erklärt damit die Faszination, die von Kino ausgeht, und welche Mechanismen dazu führen. Table of ContentsEinleitung.- Kinogeschichte.- Filmindustrie.- Filmtheorie und Filmanalyse.- Kinopublikum und Filmrezeption.- Ausblick: Die Zukunft des Kinos.

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Book SynopsisDieses Essential bietet einen Überblick zu unterschiedlichen Interpretationen der Verbindung zwischen Politik und Film. Filme und Fernsehserien werden dabei als wichtige Darstellungsformen von Politik begriffen. In zahlreichen Formaten wird dies in den letzten Jahren deutlich. Interessant wird es jedoch, wenn Filme und Serien nicht den Anspruch erheben politisch zu sein, dies jedoch implizit sind. Denn Filme spielen zum einen immer mit Vorannahmen des Publikums, produzieren andererseits aber auch spezifische politische Annahmen und Weltanschauungen bei ihrem Publikum. So sind beispielsweise Ängste oder gesellschaftlich verbreitete Feindbilder für die Wirkung von Filmen bedeutungsvoll. James Bond bekommt heute keine Liebesgrüße mehr aus Moskau, dafür rücken Cyberangriffe und die zunehmende Macht Chinas in den Mittelpunkt der Filmreihe.Table of ContentsDie Bedeutung des Films für die Betrachtung von Politik.- Filme als Spiegel der Gesellschaft.- Filme und politische Ängste.- Filme in der politischen Bildungsarbeit.

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Book SynopsisDer Band analysiert dokumentarische Formen des Films, die in aktuellen Medienkulturen eine zunehmend wichtigere Rolle spielen und für die Kommunikation in modernen Gesellschaften maßgeblich verantwortlich sind. Durch neue Technologien und veränderte Formen der Produktion, Distribution und Rezeption sowie innovative ästhetische Konzepte kommt es zu einer Ausdifferenzierung der dokumentarischen Praktiken in ihren jeweiligen Medienkulturen, die nicht zuletzt auch das Verständnis dessen verändern, was unter dokumentarischen Filmen jeweils zu verstehen ist. Diese Entwicklungen werfen Fragen auf, auf die Autorinnen und Autoren aus der Medien- und Kulturwissenschaft, der Geschichtswissenschaft, der Kunstwissenschaft und der Soziologie in diesem Band Antworten geben. Trade Review“... Der Band setzt – auch in den Fallstudien – einen Schwerpunkt auf der (Erkenntnis-) Theorie des Dokumentarfilms und richtet sich damit an Wissenschaftler bzw. Studierende der Film- und Fernsehwissenschaften.” (Christina Heinen, in: tv diskurs, Jg. 21, Heft 3, 2017)Table of ContentsTheoretische Zugänge zum Dokumentarischen.- Mediale Praktiken des dokumentarischen Films.- Geschichte und Sozialgeschichte als Herausforderung.

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Book SynopsisDas Buch führt in die Grundlagen und Abläufe der Erstellung eines Theaterspielplans ein und beleuchtet dessen Bedeutung für die Programmierung und das Management von Theatern. Es füllt damit eine wichtige Lücke in der Theater- und Theatermanagement-Literatur. Schmidt untersucht die Spielplan-Gestaltung öffentlicher Theater auf der Grundlage von ausführlichen Spielplan-Analysen, zahlreichen Umfragen unter Dramaturgen und einer mehrjährigen Feldstudie. Aus den Ergebnissen entwickelt der Autor ein Modell der Spielplan-Gestaltung als zentrales künstlerisches und ökonomisches Managementinstrument des Theaters.Der Inhalt· ​Der Traum vom idealen Spielplan· Das deutsche öffentliche Theatersystem und das Stadttheater· Das Feld als kulturtheoretischer Rahmen des Theaters · Spielplan-Gestaltung in der Theaterpraxis – Eine empirische Untersuchung· Die Phasen der Spielplan-Gestaltung· Die Regeln des Spiels Die Zielgruppen · Studierende, Lehrende und Wissenschaftler in den Gebieten Kulturmanagement, Kultur- und Theaterwissenschaften, Dramaturgie, Regie, Schauspiel, Oper und Tanz· Mitarbeiterinnen und Mitarbeiter der Künstlerischen Leitungen und des Managements am Theater· Theaterinteressierte Menschen Der AutorThomas Schmidt ist Professor für Theatermanagement und Direktor des Studiengangs Theater und Orchestermanagement in Frankfurt am Main. Er war Gastprofessor an der Harvard-University, Gastdozent an verschiedenen anderen Universitäten und Geschäftsführender Direktor des Nationaltheaters Weimar. Table of ContentsEine Untersuchung der Spielplan-Gestaltung öffentlicher Theater auf der Grundlage der Feldtheorie Pierre Bourdieus. Der Traum vom idealen Spielplan.- Das deutsche öffentliche Theatersystem und das Stadttheater.- Das Feld als kulturtheoretischer Rahmen des Theaters.- Spielplan-Gestaltung in der Theaterpraxis – Eine empirische Untersuchung.- Die Phasen der Spielplan-Gestaltung.- Die Regeln des Spiels.

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Book SynopsisDialog ist ein Wort, mit dem jeder etwas anfangen kann. Doch wann führen wir einen Dialog? Wie kann eine oft geforderte Dialogkultur beschrieben werden? Dieses Buch gibt durch die kategoriegeleitete Analyse verschiedenster Theorien und Dialogkonzepten eine Antwort auf diese Fragen. Dabei werden Ansätze der Philosophie genauso betrachtet wie jene der Organisationssoziologie, der Kommunikationswissenschaften, der Soziologie, der Psychologie oder der Theologie - von Martin Buber über Marshall Rosenberg und Schulz von Thun bis hin zu Pierpaolo Donati, Carl Rogers und Papst Franziskus. Dabei werden die Gemeinsamkeiten der Ansätze ebenso dargestellt, wie die jeweiligen Spezifika. Es werden nicht nur die Handlungsweisen beschrieben, welche einen Dialog ausmachen, sondern auch die dahinterstehenden Annahmen über den Dialog, das zugrundeliegende Menschenbild, Werte und Normen. So bietet das Buch einen guten Überblick über die Dialogkultur und einen guten Einstieg in die Thematik.Table of ContentsWir brauchen eine Dialogkultur.- Dialog– ein Definitionsversuch.- Definition Kultur.- Vom „drei-Ebenen-Modell“ zur Dialog-Kultur-Beschreibung.- Dialog-Kultur – eine erste Definition.- Martin Buber – Grundlagen des dialogischen Prinzips.- Die zwei Grundwortpaare: ICH-DU und ICH-ES.- Das dialogische Prinzip.- Das dialogische Prinzip – eine Dialogform?.- Dialogisches Prinzip = Dialogkultur? – der Beitrag Martin Bubers für die Entwicklung einer Dialogkultur.- Soziales Handeln.- Bohm, Dietz und Hartkemeyers – das dialogische Prinzip in Organisationsprozessen.- Dialog als Kommunikation – kommunikationstheoretische Ansätze.- Das Kommunikationsmodell von Marshall Rosenberg.- Der Beitrag Watzlawicks, Schulz von Thuns und Rosenbergs zur Dialogkultur.- Kommunikation und soziales Handeln – 2.Teil.- Soziale Beziehungen in den verschiedenen soziologischen Theorien.- Soziale Beziehungen nach Pierpaolo Donati.- Hilfreiche Beziehungen bei Carl Rogers.- Dialog – eine Form sozialer Beziehung?.- Dialog aus katholischer Sicht - Dialog als Mittel - Dialog als Lebensstil.- Dialogverständnis in Chiara Lubich.- Dialog – was ist das?.- Dialogkultur eine Beschreibung.- Abschlussbemerkungen.

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Book SynopsisIn einer sich ständig wandelnden Welt beleuchtet der Leitfaden die ökonomischen, kulturellen und organisatorischen Aspekte der digitalen Transformation in der Filmindustrie. Es wird untersucht, wie Streaming-Plattformen Geschäftsmodelle beeinflussen und welche Vorteile Produzenten daraus ziehen können. Mit Beiträgen von Alexander Thul und René Jamm, entwickelt im Dialog mit Branchenexperten, bietet das Buch Strategien und Kenntnisse, um in der digitalen Medienlandschaft erfolgreich zu navigieren und von der digitalen Transformation zu profitieren.Table of ContentsEinleitung.- Digitale Transformation: Grundlagen.- Die Filmindustrie vor und nach der Digitalisierung.- Geschäftsmodelle, Wertschöpfungsketten und Plattformökonomie.- Digitale Technologien und ihre Anwendung.- Leitfaden zur digitalen Transformation.- Schluss.

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Book SynopsisWhile institutional critique has long been an important part of artistic practice and theoretical debate in the visual arts, it has long escaped attention in the field of music. This open access volume assembles for the first time an array of theoretical approaches and practical examples dealing with New Music’s institutions, their critique, and their transformations. For scholars, leaders, and practitioners alike, it offers an important overview of current developments as well as theoretical reflections about New Music and its institutions today. In this way, it provides a major contribution to the debate about the present and future of contemporary music.Table of Contents1. Introduction.- I Scholars.- 2. Institutions Against Art Music—Curation, Rehearsal, and Contemporary Art.- 3. Gender Issues as Criticism within (New) Music Institutions.- 4. Darmstadt and its Discontents.- 5. Epistemological Stagflation and the Crisis of Democracy in Contemporary Music Research.- 6. Black Music’s Institutional Critique.- II Artists.- 7. My Via Dolorosa from (Impotent) Institutional Critique to the Founding of my own Institution, the Norwegian Opra, with the Gradual Construction of the followers of ø Opra-Dorf on a Meadow in the Swedish Forest, thereby (Maybe) Saving the Autonomy of Art.- 8. Sheltering Each Other from the Storms to Come. Why we need to become allies rather than critics of liberal cultural institutions.- 9. Gender Relations in New Music is Institutional Critique.- 10. Ark.- 11. On the Kunsthalle for Music and (Music-)Institutional Critique.- III Interviews.- 12. “We started expanding the ‘us,’ rather than including someone else” – Peter Meanwell and Tine Rude interviewed by Brandon Farnsworth.- 13. “Don’t expect the wrong things from institutions.” – Berno Odo Polzer interviewed by Christian Grüny.- 14. “Pockets of Obscure Skills” – Samson Young interviewed by Brandon Farnsworth.- 15. “Positioning myself between stools” – Hannes Seidl interviewed by Christian Grüny.- 16. “Framing Europe” – meLê yamomo interviewed by Theresa Beyer.

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Book SynopsisIn a significant departure from other works on Ritwik Ghatak, this book establishes him as an auteur and a maestro on par with some of the great film directors, like Sergei Eisenstein, Satyajit Ray, Ingmar Bergman, Federico Fellini, Kenji Mizoguchi and Luis Bunuel. Based on in-depth research that follows Ghatak’s journey within the context of the Indian People’s Theatre Association, it fills an important gap in the scholarship around Ghatak by offering crucial insights into Ghatak’s unique vision of cinema embedded as it is in the cultural psychic configurations of the people. It analyses Ghatak’s practice by minutely tracing formal similarities across the language of his cinematic oeuvre in the domain of cinematography, lighting, music, and sound. The book develops the way in which cinematic technique enters the domain of conceptual constructs and abstractions. It moves on to chronicle Ghatak’s political odyssey as reflected in his cinema. Moreover, it charts the manner in which Ghatak, through his cinematic idiom, offers a polemic of cinema that further adds to his notion of praxis – a thoughtful Marxist paradigm organically associated with the culture and context of India. By locating Ghatak within the discourse of nationalism, the book brings to the surface Ghatak’s critical insights related to the independence of the nation and the trauma of the partition of Bengal. Ghatak’s cinema served the crucial function of chronicling the mass tragedy of partition and its impact on the human psyche.This book appeals to scholars of film studies and filmmaking as well as to researchers and general readers interested in debates pertaining to culture, politics, art, psychoanalysis, partition and refugee studies, cinema, theatre, and ideology.Table of ContentsIntroduction.- The Man and his Times.- A Search for a Personal Vision of Cinema.- Indian People’s Theatre Association and the Cinema of Social Transformation.- The Episodic Structure in Ghatak’s Cinema.- The Magnum Opus of the Bengal Partition: Motifs and Antinomies.- Recasting the Contemporary in the Crucible of the myth: Interventions and Interpretations.- Cinematography, Lighting, Sound and Music: A Contrapuntal Melody.- Film and Praxis: A Political Odyssey.- Marxism, Culture and Praxis.- The Angst of an Artist.- Survival and Resilience.

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Book SynopsisWhat started out as a correspondence course in magic ended up becoming a masterpiece of magic literature. Remarkably detailed and clearly explained, this course includes theory, technique, and psychology, along with impactful routines. Eight volumes in all each containing 600 pages complete this set of five books. The most respected course in magic that serves the needs of both beginners and professionals. A must have for every magic library!

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Book SynopsisWhat started out as a correspondence course in magic ended up becoming a masterpiece of magic literature. Remarkably detailed and clearly explained, this course includes theory, technique, and psychology, along with impactful routines. Eight volumes in all each containing 600 pages complete this set of five books. The most respected course in magic that serves the needs of both beginners and professionals. A must have for every magic library!

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

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

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

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

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

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

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

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

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

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

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

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

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

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Book SynopsisJokes have always been part of African culture, but never have they been so blended with the strains and gains of the contemporary African world as today. The book considers the pervasive phenomenon of jokes and their performance across Africa. Trade ReviewThis is not just another book about Africa. It is a splendid book by scholars who know this Africa that is often glossed over by the so-called experts. It is about the other Africa, ignored but unbowed. In one essay after the other, the eloquence of this Africa speaks to us across different media, asking us to rethink this Africa intimately and wisely. This is a rare collection of essays about joke and joking in Africa. No Africanist must do without it. Onookome Okome, University of Alberta, CanadaTable of ContentsIntroduction Part I ‘JOKING ABOUT THE GOVERNMENT’ 1. (Re)Imagining the Postcolony in Kenya’s The XYZ Show Joke-Cartoons, Remmy Shiundu Barasa 2. Nigeria’s 2015 Presidential Elections and the Rise of "Comicast", Ignatius Chukwumah 3. Joking About the Government: A Close Reading of the Moroccan Comic Show: ‘The School of the Naughty’, Zakariae Bouhmala Part II TRADITIONAL FORMS AND (POST)MODERN CONTEXTS 4. Ehwe-Ejẹ: Art and Humour in Urhobo Joke-Performance, Peter E. Omoko 5. Aesthetics of Anganga Afiki’s Video Joke-Performance in Malawi, Smith Likongwe 6. Joke-Performance and the Tiv Cultural Context of Satirizing and Appraising Postmodernity, Godwin Aondofa Ikyer7. Egyptian Satire in Modern Media Age, Sebastian Gadomski Part III STREET JOKES 8. (Con)text and Performance of Mchongoano: An Urban Youth Joke Genre in Kenya, Wangari Mwai, David Kimongo and Charles Kebaya 9. Joke-Performance in Egypt: Halah and Kouta Hamra, Heba M. Sharobeem Part IV SEX AND GENDER 10. The Aesthetics of the Ugly: Perspectives on Degrading Online Sex Jokes in Kenya, Felix A. Orina and Fred W. Simiyu 11. Dorika’s Metamorphosis: The Allusive Potency of a Comic Character, Cheela Himutwe K. Chilala 12. "From the ‘Beautiful’ to the ‘Bold’: A Linguistic Analysis of Some Doaa Farouk’s Humorous Texts", Mona Eid Saad Part V STAND-UP COMEDY 13. Severity in Hilarity: Appraising the Satirical Value of Stand-up Comedy in Nigeria, Samuel O. Igomu 14. Ideological Undertones in Mediatised Comedy in ‘Churchill Live’ Show of Kenya, Khaemba Josephine Mulindi & Michael Mule Ndonye

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Book SynopsisCivic Performance: Pageantry and Entertainments in Early Modern London brings together a group of essays from across multiple fields of study that examine the socio-cultural, political, economic, and aesthetic dimensions of pageantry in sixteenth and seventeenth-century London.This collection engages with modern interest in the spectacle and historical performances of pageantry and entertainments, including royal entries, progresses, coronation ceremonies, Lord Mayor's Shows, and processions. Through a discussion of the extant texts, visual records, archival material, and emerging projects in the digital humanities, the chapters elucidate the forms in which the period itself recorded its public rituals, pageantry, and ephemeral entertainments. The diversity of approaches contained in these chapters reflects the collaborative nature of pageantry and civic entertainments, as well as the broad socio-cultural resonances of this form of drama, and in doing so offerTable of ContentsList of Figures Notes on Contributors Acknowledgements Introduction Part I: Civic to Global 1. ‘To the Honour of our Nation abroad’: The Merchant as Adventurer in Civic Pageantry 2. Locating the Rhinoceros and Indian: Strangers, Trade, and East India Company in Thomas Heywood’s Porta Pietatis 3. "Cleopatra in Her Barge": Anne Boleyn’s Coronation Pageants and the Production of English Cultural Capital 4. The Unspoken Language of Aliens, or the Spectacular Conversation between Visiting English and Dutch that Transcended Time and Space Part II: Material Encounters 5.The Social and Political Dynamics of the Lord Mayor’s Show, c. 1550-1700 6. Arion’s Harp, Apollo’s Lute: The Instrumental Sounds of London’s Lord Mayors’ Shows 7. Financial Encounter Customs: Tradition and Form in London’s Civic Pageantry Part III: Methodologies for Re-viewing Performance 8. The Duke of Lennox and Civic Entertainments 9. Stephen Harrison’s The Arches of Triumph (1604) and James I’s Royal Entry in the London Literary Marketplace 10. Musical Transformations of the City Soundscape: King James I’s Entry into London in 1604 11. Building a Digital Geospatial Anthology of the Mayoral Shows Index

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Book SynopsisThis book deals with one of the most important sources of the Stanislavsky System - Yoga, its practice and philosophy. Sergei Tcherkasski carefully collects records on Yoga in Stanislavsky''s writings from different periods and discusses hidden references which are not explained by Stanislavsky himself due to the censorship in his day. Vivid examples of Yoga based training from the rehearsal practice of the Moscow Art Theatre and many of Stanislavsky''s studios (the First Studio in 1910s, the Second Studio and Opera Studio of the Bolshoi Theatre in 1920s, Opera-Dramatic Studio in 1930s) are provided.The focus of Tcherkasski''s research consists of a comparative reading of the Stanislavsky System and Yogi Ramacharaka''s books, which were a main source for Stanislavsky. Accordingly, Tcherkasski analyzes elements of the System based on Yoga principles. Among them are: relaxation of muscles (muscular release), communication and prana, emission of raysTrade ReviewThe final chapter explores the broader correspondences and divergences between the System and core elements of yoga. In this careful study, Tcherkasski makes a strong case for the continuity, rather than the oft-cited break, between old and new Stanislavsky, and illuminates the significance of yoga to modern actor training in and beyond Stanislavsky’s works.Coleman Nye, The Drama Review, Volume 62, Number 3, Fall 2018 Table of Contentsintroduction chapter i yoga in the theatre practice of stanislavsky Stanislavsky’s Acquaintance with Yoga Yoga in the First Studio of the Moscow Art Theatre Yoga in Stanislavsky’s Classes with Actors of the Moscow Art Theatre and the Second Studio in the late 1910s and the 1920s Yoga in the Opera Studio Yoga and the Late Period of Stanislavsky’s Work (1930s) chapter ii yoga in the literary heritage of stanislavsky Yoga of the Twentieth Century and its Ancient Roots A Comparative Reading of Stanislavsky and Ramacharaka chapter iii yoga elements of the stanislavsky system Relaxation of Muscles (Muscular Release) Communication and Prana Attention Visualizations (Mental Images) Superconscious ‘I am’ Conclusion

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