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Book SynopsisEinleitung.- Radio Und Schizophrenie.- Radio Und Schizoaktivismus.- Schizo(Radio)Kultur.- Schizomedien. Ein Ausblick.- Quellen.

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Book SynopsisMore than a century ago, filmmakers made their primary focus innovative and widely promulgated visions of antiquity, creating a profound effect on the critical, popular, and scholarly reception of antiquity. In this volume, scholars from a variety of countries and varying academic disciplines have addressed film’s way of using the field of Classical Reception to investigate, contemplate, and develop hypotheses about present-day culture, society, and politics, with a particular emphasis on gender and gender roles, their relationship to one another, and how filmic constructions of masculinity and femininity shape and are shaped by interacting economic, political, and ideological practices.Trade Review"[A] obra é um rico contributo no justificar da percepção de como a indústria do cinema tem ajudado à nossa compreensão de nós mesmos, da nossa cultura e sociedade, e de como o conhecimento cultural e social, bem como a experiência, pode ser veiculado pelos filmes e pelas imagens" Ricardo Duarte, CADMO, Revista de História Antiga 23 (2014), pp. 249-252.Table of ContentsHistorical Ancients Ben-Hur and Gladiator: Manifest Destiny and the Contradictions of American Empire, Jon Solomon Muscles and Morals: Spartacus, Ancient Hero of Modern Times, Thomas Späth & Margrit Tröhler With Your Shield or On it: The Gender of Heroism in Zack Snyder’s 300 and Rudoph Maté’s The 300 Spartans, Thorsten Beigel ‘This is Sparta!’: Discourse, Gender, and the Orient in Zack Snyder’s 300, Jeroen Lauwers, Marieke Dhont & Xanne Huybrecht ‘Everybody Loves a Muscle Boi’: Homos, Heroes, and Foes in Post-9/11 Spoofs of The 300 Spartans, Ralph Poole The Womanizing of Mark Antony: Virile Ruthlessness and Redemptive Cross-Dressing in Rome, Season Two, Margaret M. Toscano Cleopatra’s Venus, Elisabeth Bronfen Mythological Ancients Over his Dead Body: Male Friendship in Homer’s Iliad and Wolfgang Petersen’s Troy (2004), Andreas Krass Models of Masculinities in Troy: Achilles, Hector and Their Female Partners, Celina Proch & Michael Kleu ‘Include me out’ – Odysseus on the Margins of European Genre Cinema: Le Mépris, Ulisse, L’Odissea, Christian Pischel Between Mythical and Rational Worlds: Medea by Pier Paolo Pasolini, Lada Stevanovic Gender Norms and Hindu Authority in the Global Media Debate on Representing the Hindu God Krishna in Xena: Warrior Princess, Xenia Zeiler Mythological and Historical Thematics Ancient Women’s Cults and Rituals in Grand Narratives on Screen: From Disney’s Snow White to Olga Malea’s Doughnuts with Honey, Svetlana Slapšak Pandora-Eve-Ava: Albert Lewin’s Making of a ‘Secret Goddess’, Almut-Barbara Renger Phryne Paves the Way for the Wirtschaftswunder: Visions of Guilt and ‘Purity’ Fed by Ancient Greece, Christian Narrative, and Contemporary History, Barbara Schrödl The New Israeli Film Beruriah: Between Rashi and Talmud, between Antiquity and Modernity, between Feminism and Religion, Tal Ilan

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Book SynopsisThis is the first book-length introduction in Spanish to the current debate on transnationality in Spanish and Latin American cinema, with theoretical and analytical contributions by several of the leading scholars in the field. Éste es el primer libro en español que se dedica enteramente a plantear el debate contemporáneo acerca de la transnacionalidad del cine español y latinoamericano, con aportaciones teóricas y críticas que ofrecen algunos de los mejores especialistas.Table of ContentsPreliminares Introducción al volumen (Robin Lefere y Nadia Lie) Lo transnacional en el cine hispánico: deslindes de un concepto (Nadia Lie) I Modos de producción y de distribución Navegar por el frío mar Atlántico. España y los ensayos de un cine transnacional en español (1948-1962) (Marina Díaz López) Almodóvar en la frontera: El Deseo y la estética de las coproducciones transnacionales (Marvin D’Lugo) Un impulso transnacional al cine latinoamericano de festivales. El programa Cine en Construcción (Minerva Campos) El BAFICI como ventana al mundo del cine argentino (Sergio Wolf) II Directores Buñuel y Saura, ¿directores “transnacionales”? (Robin Lefere) Lo transnacional como expresión de cuestionamientos identitarios en los documentales de Edgardo Cozarinsky y Alberto Yaccelini (Pablo Piedras) La vida secreta de las palabras (2005) de Isabel Coixet. Un testimonio transnacional (Pietsie Feenstra) Multilingüismo y subtitulación: la (in)comunicación en Babel (An Van Hecke) III Modos narrativos Travelling cinema – La road movie latinoamericana en el contexto global (Verena Berger) El discurso espacial de la road movie en América Latina (Michael Chanan) La infancia entre nación y transnación en varias películas coproducidas del cine hispanoamericano contemporáneo (Sophie Dufays) Cine queer latinoamericano y las coproducciones europeas (Deborah Shaw) Fichas biobibliográficas de los autores Índice

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Book Synopsis“It’s all rather confusing, really” was one of the catchphrases used by Spike Milligan in his ground-breaking radio comedy program The Goon Show. In a series of mock-epics broadcast over the course of a decade, Milligan treated listeners to a cosmology governed by confusion, contradictions, fluidity and uncertainty. In The Goon Show’s universe, time and space expand and contract seemingly at will and without notice. The worldview featured in The Goon Show looked both backward and forward: backward, in the sense that it paralleled strategies used by schoolchildren to understand time and space; forward, in the ways it anticipated and prefigured a number of key features of postmodern thought. Winner of the Ann Saddlemyer Award 2017 of the Canadian Association for Theatre Research.Table of ContentsPRELUDE: A FEW WORDS OF EXPLANATION INTRODUCTION “Good Morning, sir, welcome to Chapter Two”: A Few Words on the Structure of this Book CHAPTER 1—THE ACCORDION UNDER CONSTRUCTION: THE ORIGINS OF SPIKE MILLIGAN’S COMEDIC STYLE, AND OF THE GOON SHOW 1. Portrait of The Milligan as a Young Goon: Laying the Groundwork for a Personal Vision of Comedy 2. “Well, that’s the end of that corny routine”: The Goon Show’s Sketchy Beginnings 3. New Producer, New Approach: Peter Eton and the Transformation of The Goon Show 4. The Goon Show’s “Classic” Format: Dramatic Structures Mature in the Service of Comedic Immaturity 5. Little Cardboard-and-String Heroes: The Goon Show’s Regular Cast of Characters 6. “This is the BBC”: The Goon Show Vis-à-Vis Mainstream Practices in Contemporary Radio Drama 6.1. “What is this Go On Show?” The BBC’s official narratives and The Goon Show’s place in them 6.2. “Meantime, back in the BBC torture room”: The Goon Show’s Deviations from BBC Radio’s Dominant Aesthetic for Dramaturgy and Performance 7. “Who are you, Ben Lyon?”: The Goon Show’s Thematic Links to Popular Culture between the Two World Wars CHAPTER 2—THE ACCORDION BEATING TIME: TEMPORAL DISTORTIONS IN THE GOON SHOW 1. Looking Backward to Look Forward Again: The Goon Show’s Narrative Framework 2. One Narrative, Many Narrators:The Goon Show’s Democracy of Diegesis 3. The Fragmentation of Time-Frames in The Goon Show and Its Effects On Narrative 4. That Sabrina Sure Gets Around: The Free Flow of Anachronisms in The Goon Show 5. Musical Interludes in The Goon Show: Interruptions in Narrative Flow and Opportunities for Temporal Distortion 6. The Ageless Aging Process of The Goon Show’s Characters 7. “I’m for the dreaded deading this week alright”:The Impermanence of Death in The Goon Show 8. The Passage of Time and the Completion of Tasks: Two Sides of the Same Coin 9. Sounds and Their Effects on Temporality INTERRUPTION 1: MILLIGAN’S LAWS OF TIME CHAPTER 3—THE ACCORDION STRETCHING IN ALL DIRECTIONS: SPATIAL DISTORTIONS IN THE GOON SHOW 1. Setting the Scene: A Few Words on the “Landscape” of Radio Theatre 2. Mise en Scène as Mise sans Scène: The Goon Show as “Black Box” Theatre for Radio 3. Contents Not Necessarily To Scale: The Variability of Container Capacity in The Goon Show 4. “My Lord, a piece of junk being found on the King’s Highway, it is declared treasure trove”: The Appearance of Objects Exactly When, and Exactly Where, They Are Needed 5. The Conundrum of Self-Duplication and Rapid Spatial Displacement, or, Being in Two Places at Once Is Easier When You Don’t Know It Can’t Be Done 6. Perceptual Fields Forever: Milligan’s Use of Simultaneous Multiple Perspectives within the Same Scene 6.1. The Perception of Doors 6.2. Getting That Long-Distance Feeling—Telephones as Disruptors of Spatial Integrity 6.3. The Use of Pre-Recorded Voices and Effects to Establish Additional Spatial Frames 7. All the World’s a Soundstage: The Recording Studio as Determinant of Spatial Frameworks 8. When Mental Maps Suffer Breakdowns: Around the World (and back again) with The Goon Show INTERRUPTION 2: MILLIGAN’S LAWS OF SPACE CHAPTER 4—CHILDREN TEACH LESSONS ON THE ACCORDION: PREOPERATIONAL COGNITIVE STRATEGIES IN THE GOON SHOW 1. “Hello, folks, this is Neddy Seagoon speaking, folks”: The Spoken Word as Stage Manager of Radio Theatre 2. Suffer Little Children to Come unto Metonymy: The Preoperational Substitution of Words for Things 3. A Child’s Garden of Goon-sense: Milligan as Children’s Author and Perpetual Child 4. Putting Together Pieces from Different Puzzles: Children, Goons and Cognitive Constructivism 5. Preoperational Perceptions of Time and The Goon Show 6. “And this is where the story really starts”: The Preoperational Mind at Work in Milligan’s Construction of Narrative 7. Time, Task Completion, Preoperational Cognition and The Goon Show 8. The Goon Show and Preoperational Modes of Spatial Cognition 8.1. Childlike Spatial Readings of Objects and Locales 8.2. “It must be a drowning cartoonist”: Other Childlike Animation-based Spatial Reconfigurations in The Goon Show 8.3. “I have got a Boy Scout street map of Shanghai”: Childlike Geography in The Goon Show CHAPTER 5—THE ACCORDION PLAYS A NEW TUNE BEFORE ANYONE CAN WRITE IT DOWN: ANTICIPATIONS OF POSTMODERNISM IN THE GOON SHOW 1. Pipping Them at the Postmodern: Milligan the Advance Scout 2. Milligan’s Deconstructions of History and Historical Fictions 3. The Goon Show as Reductio ad Absurdum of the Metanarratives of Scientific Thought 4. Breaking Causal Chains Causes Causal Chain Reactions: Indeterminacy in The Goon Show 5. Postmodern Geographies, Thirdspace, and The Goon Show 6. Superspace—The Final Frontier: The Goon Show’s Universe of Multiple Universes 7. The Goon Show Hits a Heisenberg, but Doesn’t Sink: Milligan and the Uncertainty Principle 8. Disorder as a Creative Force in The Goon Show 9. Chaos in The Goon Show: Not So Much a Theory as a Way of Life CONCLUSION: THE ACCORDION IS PACKED AWAY SOURCES

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Book SynopsisThe Baroque is back in contemporary culture. The ten essays authored by international scholars, and three interventions by artists, examine the return of the baroque as Neo-Baroque through interdisciplinary perspectives. Understanding the Neo-Baroque as transcultural (between different cultures) and transhistorical (between historical moments) the contributors to this volume offer diverse perspectives that suggest the slipperiness of the Neo-Baroque may best be served by the term ‘Neo-Baroques’. Case studies analysed reflect this plurality and include: the productions of Belgian theatre company Abattoir Fermé; Claire Denis’ French New Extremist film Trouble Every Day; the novel Lujuria tropical by exiled El Salvadorian Quijada Urias; the science fiction blockbuster spectacles The Matrix and eXistenZ; and the spectacular grandeur of early Hollywood movie palaces and the contemporary Las Vegas Strip. Contributors: Jens Baumgarten, Marjan Colletti, Bolívar Echeverría, Rita Eder, Hugh Hazelton, Monika Kaup, Peter Krieger, Patrick Mahon, Walter Moser, Angela Ndalianis, Richard Reddaway, Karel Vanhaesebrouck, Saige Walton.Table of ContentsBook Introduction—Walter Moser Part One: Neo-Baroques Part One Introduction—Walter Moser 1. Meditations on the Baroque—Bolívar Echeverría 2. Reconsidering Metatheatricality: Towards a Baroque Understanding of Postdramatic Theatre—Karel Vanhaesebrouck 3. Fabricating Film: The Neo-Baroque Folds of Claire Denis—Saige Walton 4. Baroque Affinities : Wölfflin, Visconti, the Baroque and the Films of Glauber Rocha—Rita Eder 5. Artist’s Essay: The Neo-Baroque and Complexity—Richard Reddaway Part Two: Religion Part Two Introduction—Angela Ndalianis 6. Afro-Caribbean Belief Systems and the Neo-Baroque Novel: The Duel of Faiths in Alejo Carpentier’s El reino de este mundo and Ludic Voodoo in Alfonso Quijada Urías’s Lujuria tropical —Hugh Hazelton 7. Temporal and Local Transfers: The Neo-Baroque Between Politics, Religion and Entertainment —Jens Baumgarten 8. The Religious Shines Through: Religious Remnants and Resurgences in 90s Cinema —Walter Moser 9. Artist’s Essay: Towers, Shipwrecks, and Neo-Baroque Allegories—Patrick Mahon Part Three: Cities Part Three Introduction—Peter Krieger 10. Symbolic Dimensions and Cultural Functions of the Neo-Baroque Balustrade in Contemporary Mexico City: An Alternative Learning from Las Vegas—Peter Krieger 11. Mexico City’s Dissonant Modernity and the Marketplace Baroque: Salvador Novo’s Nueva grandeza mexicana and Bernardo de Balbuena’s La grandeza mexicana—Monika Kaup 12. Baroque Theatricality and Scripted Spaces: From Movie Palace to Las Vegas Casinos—Angela Ndalianis 13. Artist’s Essay: Post-Digital Neo-Baroque: Reinterpreting Baroque Reality in Contemporary Architectural Design—Marjan Colletti AUTHOR BIOGRAPHIES

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Book SynopsisThis collection offers an in-depth study of music’s narrative functions in radio drama, whether original or adapted, alongside speech and sound. It features a range of historical perspectives as well as case studies from Australia, Europe and North America, highlighting broadcasting institutions such as the BBC, RAI, ABC, WDR and SWR, from early radio to the medium’s postwar golden age and contemporary productions. Not limited to classical or popular music, the chapters also pay attention to electronic varieties and musical uses of language, in addition to intermedial exchanges with other art forms such as theatre, opera and film. In doing so, the present volume sits at the crossroads of various disciplines: musicology, narratology, history, literary, media, sound and radio studies.

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Book Synopsis''An extraordinary book by an extraordinary man'' Ken LoachTony Garnett''s story begins in working-class, war-torn Birmingham where he movingly describes the trauma of his mother''s death following a back-street abortion. Nineteen days later, stricken with grief, Tony''s father committed suicide and Tony was sent to live with other family members. He eventually moved to London and was part of the counterculture scene in the 1960s.Tony takes us behind the scenes of a selection of his more famous productions, offering secrets and anecdotes, some moving, some amusing. He gives accounts of angry clashes with the BBC and movie executives as he battles to make films that are thought too controversial. Year after year he fought the BBC and movie bosses to bring to the public films about police corruption and psychiatrists'' cruelty; films advocating abortion law reform and the abolition of the death penalty; films about the homeless and the waste of young people in poor schTrade ReviewA truly remarkable life, which he [Garnett] retells here with passion, wit and unsparing honesty . . . The book is both a fascinating memoir from a pillar of post-war British television and a vivid social history document . . . But it's also a moving story of a man's lifelong attempt to come to terms with unimaginable tragedy, in which he examines himself with the same uncompromising clarity he's brought to all his projects - IndependentA must read - Marsha HuntSimply the best television drama creator and producer there has ever been - Mark Thompson, former Director General of the BBCThis is an extraordinary book by an extraordinary man. It tells of a childhood tragedy with consequences that lasted a lifetime.Read it and weep. But this is also an account of a life spent producing innovative and challenging films and television programmes, tangling with the hierarchies of the BBC and Hollywood. Drawing on his unique experience, Tony Garnett makes a devastating critique of contemporary broadcasting. This is a book of many insights, public and deeply personal. - Ken LoachBrutally honest and beautifully evocative as Garnett reveals the unimaginable horror that shaped the life of one of the greats of British screen - Simon HattenstoneBrilliant, beautifully written, sincere and moving, from a British television icon.Tony Garnett's description of his extended loving Birmingham family, the lost world of the industrious working class, the culture and fortitude, is absorbing.But underpinning it all is a grim wartime tragedy, sweeping away his mother and father, a traumatic life changing event for a young child to witness, which now explains the shaping and making of this exceptional man, and the radical drama he created. - Maggie Brown

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