This collection of essays by biblical scholars is the first book-length treatment of the 2014 film Noah, directed by Darren Aronofsky. The film has proved to be of great interest to scholars working on the interface between the Bible and popular culture, not only because it was heralded as the first of a new generation of biblical blockbusters, but also because of its bold, provocative, and yet unusually nuanced approach to the interpretation and use of the Noah tradition, in both its biblical and extra-biblical forms. The book's chapters, written by both well-established and up-and-coming scholars, engage with and analyze a broad range of issues raised by the film, including: its employment and interpretation of the ancient Noah traditions; its engagement with contemporary environmental themes and representation of non-human animals; its place within the history of cinematic depictions of the flood, status as an 'epic', and associated relationship to spectacle; the theological implications of its representation of a hidden and silent Creator and responses to perceived revelation; the controversies surrounding its reception among religious audiences, especially in the Muslim world; and the nature and implications of its convoluted racial and gender politics. Noah as Antihero will be of considerable interest to scholars conducting research in the areas of religion and film, contemporary hermeneutics, reception history, religion and popular culture, feminist criticism, and ecological ethics.

This book tells, for the first time, the story of the Situationist International's influence and afterlives in Britain, where its radical ideas have been rapturously welcomed and fiercely resisted. The Situationist International presented itself as the culmination of the twentieth century avant-garde tradition - as the true successor of Dada and Surrealism. Its grand ambition was not unfounded. Though it dissolved in 1972, generations of artists and writers, theorists and provocateurs, punks and psychogeographers have continued its effort to confront and contest the 'society of the spectacle.' This book constructs a long cultural history, beginning in the interwar period with the arrival of Surrealism to Britain, moving through the countercultures of the 1950s and 1960s, and finally surveying the directions in which Situationist theory and practice are being taken today. It combines agile historicism with close readings of a vast range of archival and newly excavated materials, including newspaper reports, underground pamphlets, Psychogeographical films, and experimental novels. It brings to light an overlooked but ferociously productive period of British avant-garde practice, and demonstrates how this subterranean activity helps us to understand postwar culture, late modernism, and the complex internationalization of the avant-garde. As popular and academic interest in the Situationists grows, this book offers an important contribution to the international history of the avant-garde and Surrealism. It will prove a valuable resource for researchers and students of English and Comparative Literature, Modernism and the Avant-Gardes, Twentieth Century and Contemporary History, Cultural Studies, Art History, and Political Aesthetics.

This book makes a significant contribution to recent scholarship on the ways in which women responded to the regulation of their behavior by focusing on representations of women speakers and their audiences in moments Smith identifies as "scenes of speech." This new approach, examining speech exchanges between a speaker and audience in which both anticipate, interact with, and respond to each other and each other's expectations, demonstrates that the prescriptive process involves a dynamic exchange in which each side plays a role in establishing and contesting the boundaries of acceptable speech for women. Drawing from a wide range of evidence, including pamphlets, diaries, illustrations, and plays, the book interprets the various and at times contradictory representations and reception of women's speech that circulated in early modern England. Speech scenes examined within include wives' speech to their husbands in private, private speech between women, public speech before death, and the speech of witches. Looking at scenes of women's speech from male and female authors, Smith argues that these early modern texts illustrate a means through which societal regulations were negotiated and modified. This book will appeal to those with an interest in early modern drama, including the playwrights Shakespeare, Cary, Webster, Fletcher, and Middleton, as well as readers of non-dramatic early modern literary texts. The volume is of particular use for scholars working in the areas of early modern literature and culture, women's history, gender studies, and performance studies.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.

This book argues that today's professoriate has become increasingly theatrical, largely as a result of neoliberal policies in higher education, but also in response to an anti-intellectual scrutiny that has become pervasive throughout the Western world. The Theatrical Professoriate: Contemporary Higher Education and Its Academic Dramas examines how the Western professoriate increasingly finds itself enacting command performances that utilize scripting, characterization, surrogation, and spectacle-the hallmarks of theatricality-toward neoliberal ends. Roxworthy explores how the theatrical nature of today's professoriate and the resultant glut of performances about academia on stage and screen have contributed to a highly ambivalent public fascination with academia. She further documents the "theatrical turn" witnessed in American higher education, as academic institutions use performance to intervene in the diversity issues and disciplinary disparities fueled by neoliberalism. By analyzing academic dramas and their audience reception alongside theoretical approaches, the author reveals how contemporary academia drives the professoriate to perform in what seem like increasingly artificial ways. Ideal for practitioners and students of education, ethnic, and science studies, The Theatrical Professoriate deftly intervenes in Performance Studies' still-unsettled debates over the differential impact of live versus mediated performances.

This book examines folk theatres of North India as a unique performative structure, a counter stream to the postulations of Sanskrit and Western realistic theatre. In focusing on their historical, social and cultural imprints, it explores how these theatres challenge the linearity of cultural history and subvert cultural hegemony. The book looks at diverse forms of theatre such as svangs, nautanki, tamasha, all with conventions like open performative space, free mingling of spectators and actors, flexibility in roles and genres, etc. It discusses the genesis, history and the independent trajectory of folk theatres; folk theatre and Sanskrit dramaturgy; cinematic legacy; and theatrical space as performance besides investigating causes, inter-relations within socio-cultural factors, and the performance principles underlying them. It shows how these theatres effectively contest delimitation of human creative impulses (as revealed in classical Sanskrit theatre) from structuring as also of normative impulses of religion and culture, while amalgamating influences from Western theatre, newly-rising religious reform movements of 19th century India, tantra and Bhakti. It further highlights their ability to adapt and reinvent themselves in accordance with spatial and temporal transformations to constitute an important anthropological layer of Indian society. Comprehensive and empirically rich, this book will be an essential read for scholars and researchers of cultural studies, theatre, film and performance studies, sociology, political studies, popular culture, and South Asian studies.

With the aim to help teachers design and deliver instruction around world films featuring child protagonists, Cultivating Creativity through World Films guides readers to understand the importance of fostering creativity in the lives of youth. It is expected that by teaching students about world films through the eyes of characters that resemble them, they will gain insight into cultures that might be otherwise unknown to them and learn to analyze what they see. Teachers can use these films to examine and reflect on differences and commonalities rooted in culture, social class, gender, language, religion, etc., through guided questions for class discussion. The framework of this book is conceived to help teachers develop students' ability to evaluate, analyze, synthesize and interpret. The proposed activities seek to incite reflection and creativity in students, and can be used as a model for teachers in designing future lessons on other films.

The official art book for the animated movie Luck. The Art and Making of Luck showcases, in beautifully illustrated detail, the concept art behind the story of the unluckiest girl in the world: Sam Greenfield. When Sam stumbles into the never-before-seen world of good and bad luck, she sets out on a quest to find good luck for her best friend Hazel, so that she can find a forever family. Journey with Sam as she follows a lucky penny into the Land of Luck, and meets magical creatures including Bob, a lucky black cat, and The Dragon, the CEO of the Land of Good Luck. From Skydance Animation and Apple Original Films, Luck is a charming animated comedy for both adults and kids alike. Any animation buff would be lucky to have this coffee table hardback that explodes with creativity; filled with intricate sketches, vivid concept designs, storyboards, production art, and rendered 3D models for the animated film, alongside insight from the artists, filmmakers and director into the original fictional world of Luck.

Girl With Two Fingers is an edited day to day account of life as a subject of eight portraits by Lucian Freud. '...diaries and letters are a form of time travel. They transport the future reader back to the moment the words were written.' In 1999, a young woman writer returns to London from living in Paris, having been hit by a bus. The accident is a wake-up call: what should she do with her life, how to continue writing? Having known Lucian Freud over a decade, and having previously declined to have a portrait painted by him, she writes asking if he still needs someone to work from Something to do while thinking what to do next. Writer and painter meet for dinner and an after hours visit to the National Gallery, and agree to start painting the following week. The studio in Holland Park is unchanged, except everyone's ten years older. The puppy, Pluto, is an old girl now. The writer has travelled, written, grown up.'Now I look for the adult in me, instead of the child.' She keeps a diary, as she always has, until it becomes too much of a chore. After a few weeks, she begins to write to an imaginary confidante instead. 'Every thing, be it glamorous or mundane, has a particularity of its own. Seeing and recording that particularity is what a writer does. And it's a form of protest. Because it's the loudest voice that tells you how to see, and the smallest voice that sees and hears the most.' As an act of independence she rejects the offered chair and stands for her picture, standing up to the artist. She records, 'For now, my place on the planet is in this studio, my small space the shapes of my feet carved into the floor.' The writer's under no illusion that the picture will be flattering. 'I'm simply a body for him to paint, one of many bodies. And a face. Another one of many.' She won't connect to the finished image.'I'm not going to recognise myself, or connect with this image. It'll just be a work of art.' But writer and painter do connect. This becomes a painting relationship, one picture leads to seven more. Leading to night time phone calls and the painter saying 'I'm beginning to depend on you.' 'It feels a bit like Shakespeare's The Tempest up here. The studio our island. Lucian as Prospero, with 'art to enchant'. The shopper as Ariel, and me as a stand-in Miranda.' But not everybody's happy with this painting relationship. And it's proving too much for the subject herself. Despite being committed to the painter's work, she's keen to regain her freedom. 'I think he knows I'm starting to want to break free. That's a kind of magnetic energy for him.' Face to face: writer and painter, woman and man, the seer and the seen. And the unseen. Because that's the joy of writing: it's seeing what can't be depicted in paint. On a trip to New York May 2000, standing unnoticed in a gallery between two of the portraits of herself, the writer looks in to the pictures she's - depicted as - looking out from, and asks if the images are more about the painter than the painted: '...his view, his space, his paint, his colours, his brushes, his language, his desire to control and portray. His feelings. His life events. And the distortions, the freuding, are his signature. They are autobiographical naked portraits of Lucian. Hiding in plain sight.' 'The stories that bring a fixed portrait into being are much more fun than the finished thing itself.' 'What's lovely about (a friend),' says Lucian 'and you do it too, is you describe people by what they say.' 'What do you mean?' 'Well you repeat what it was they said.' Beautifully written, poignant and evocative, testament to the world of the studio, witness to the act of portraiture. 'Historically, men make images of women. Men tell us how to see and understand those images. They narrate them. And then they market what they have made. So the images of women are about men.' Girl With Two Fingers is the female gaze, a detailed subject's account of the making of eight works of art.

The Elements of Theatrical Expression puts forward 14 essential elements that make up the basic building blocks of theatre. Is theatre a language? Does it have its own unique grammar? And if so, just what would the elements of such a grammar be? Brian Kulick asks readers to think of these elements as the rungs of a ladder, scaling one after the other to arrive at an aerial view of the theatrical landscape. From such a vantage point, one can begin to discern a line of development from the ancient Greeks, through Shakespeare and Chekhov, to a host of our own contemporary authors. He demonstrates how these elements may be transhistorical but are far from static, marking out a rich and dynamic theatrical language for a new generation of theatre makers to draw upon. Suitable for directors, actors, writers, dramaturges, and all audiences who yearn for a deeper understanding of theatre, The Elements of Theatrical Expression equips its readers with the knowledge that they need to see and hear theatre in new and more daring ways.

Unruly Audiences and the Theater of Control in Early Modern London explores the effects of audience riots on the dramaturgy of early modern playwrights, arguing that playwrights from Marlowe to Brome often used their plays to control the physical reactions of their audience. This study analyses how, out of anxiety that unruly audiences would destroy the nascent industry of professional drama in England, playwrights sought to limit the effect that their plays could have on the audience. They tried to construct playgoing through their drama in the hopes of creating a less-reactive, more pensive, and controlled playgoer. The result was the radical experimentation in dramaturgy that, in part, defines Renaissance drama. Written for scholars of Early Modern and Renaissance Drama and Theatre, Theatre History, and Early Modern and Renaissance History, this book calls for a new focus on the local economic concerns of the theatre companies as a way to understand the motivation behind the drama of early modern London.

A History of Romanian Theatre from Communism to Capitalism analyses the last three decades of Romanian theatre and connects it to the international stage. Cristina Modreanu questions the relationship between artists and power, both before 1989, behind the Iron Curtain, and in the current global political context, with nationalism manifesting itself in Eastern Europe, as seen in the critical work of Romanian theatre makers. This study covers the complex cases of theatre makers such as Lucian Pintilie, Liviu Ciulei and Andrei Serban, who built their international careers in exile, and the most innovative Romanian artists of today, such as Silviu Purcarete, Mihai Maniutiu, Gianina Carbunariu, Radu Afrim, and Bogdan Georgescu, who reached the status of transglobal artists. Filling a considerable gap in Romanian theatre discourse, this book will be of a great interest to students and scholars of contemporary theatre and history.

In this volume, Soe Marlar Lwin proposes a contextualized multimodal framework that brings together storytelling practitioners' and academic researchers' conceptions of storytelling. It aims to highlight the ways in which various institutions in contemporary society have been using live storytelling performances as an effective communicative, educative and meaning-making tool. Drawing on theories of narrative from narratology as well as from related fields such as discourse analysis, multimodal analysis, communication and performance studies, the author proposes a contextualized multimodal framework to (a) uncover the potential narrativity of a live storytelling performance through an analysis of narrative elements constituting the story, (b) capture the process of developing actual narrativity through a multimodal analysis of performance features in the storytelling discourse, and (c) highlight the importance of context and dynamics between the storyteller and audience for an achievement of optimal narrativity in a particular storytelling event. The sample analysis shows how the framework not only describes the system governing institutionalized storytelling performances in general but also serves as a useful model to examine individual performance as a unique realization of the general system. The book also offers implications for possible applications of such contextualized multimodal frameworks more broadly across the disciplines.

Visionary illustrator and author SIMON STALENHAG (THE ELECTRIC STATE, TALES FROM THE LOOP) presents a tense, dark tale of ruin and vengeance set among a stunning sci-fi apocalypse like you've never seen before. An eight-wheeled vehicle trundles across a barren landscape of ash and ruined buildings toward a lone bunker deep in the wilderness. Inside the vehicle are three passengers: two scientists-who plan to use the outpost as a home base for the study of world-ending phenomena-and a boy named Charlie. As the work unfolds, the isolation and claustrophobia of the compound threatens each member of the expedition with madness. Forced to confront their own dark history and the struggles of the haves and have-nots, the members of the expedition find themselves hurtling toward ruin.

Criticism of contemporary art is split by an opposition between activism and the critical function of form. Yet the deeper, more subterranean terms of art-judgment are largely neglected on both sides. These essays combine a re-examination of the terms of judgement of contemporary art with critical interpretations of individual works and exhibitions by Luis Camnitzer, Marcel Duchamp, Matias Faldbakken, Anne Imhof and Cady Noland. The book moves from philosophical issues, via the lingering shadows of medium-specificity (in photography and art music), and the changing states of museums, to analyses of the peculiar ways that works of art relate to time.To give artistic form to crisis, it is suggested, one needs to understand contemporary art's own constitutive crisis of form.

A bold rethinking of the Civil Rights Movement through the lens of Black theater "Freedom, Now!" This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait-in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards-for their long-deferred liberation. In Black Patience, Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as "Black patience." Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production.

During the 1960s and 1970s, Workerism and Autonomia were prominent Marxist currents. However, it is rarely acknowledged that these movements inspired many visual artists such as the members of Archizoom, Gordon Matta-Clark and Gianfranco Baruchello. This book focuses on the aesthetic and cultural discourse developed by three generations of militants (including Mario Tronti, Antonio Negri, Bifo and Silvia Federici), and how it was appropriated by artists, architects, graphic designers and architectural historians such as Manfredo Tafuri. Images of Class signposts key moments of this dialogue, ranging from the drawings published on classe operaia to Potere Operaio's exhibition in Paris, the Metropolitan Indians' zines, a feminist art collective who adhered to the Wages for Housework Campaign, and the N group's experiments with Gestalt theory. Featuring more than 140 images of artworks, many published here for the first time, this volume provides an original perspective on post-war Italian culture and new insights into some of the most influential Marxist movements of the twentieth and twenty-first centuries worldwide.

Anton van Dalen: Community of Many chronicles the historic artist Anton van Dalen's lifelong visual investigation informed by the influences of war, religion and migration, his devotion to nature, and his dedication to documenting the technological and cultural evolutions within our society across a variety of mediums, from drawing and sculpture to collage and painting. Born in the Netherlands in 1938 to a conservative Calvinist family, Anton witnessed first-hand the terrors of both technological and human destruction during the Second World War. Since he immigrated to New York in 1966 and settled in the East Village, Anton has served as witness, storyteller and documentarian of the dramatic cultural shifts in the neighbourhood through his masterfully honed and singular iconography. Featuring critical essays by John Yau and Tiernan Morgan, this heavily illustrated publication is the first comprehensive monograph on Anton van Dalen's work that provides a language by which to discuss the consequences of human brutality towards nature and our entanglement with technology. Anton has been included in group exhibitions at notable institutions including the Whitney Museum of American Art, New York; New Museum, New York; Contemporary Art Center, Cincinnati; and the New-York Historical Society. He has also been the subject of solo exhibitions at Temple Contemporary, Tyler School of Art and Architecture, Temple University, Philadelphia; University Museum of Contemporary Art, University of Massachusetts, Amherst; and Exit Art, New York. His Avenue A Cut-Out Theatre has toured since 1995 both nationally and internationally and has been shown at numerous institutions including The Drawing Center, the Museum of Modern Art, and The New-York Historical Society.

After the Long Silence offers a ground-breaking, meticulously researched criticism of Brazilian contemporary performance created by its post-dictatorship generation, whose work expresses the consequences of decades of state-imposed censorship. By offering an in-depth examination of key artists and their works, Claudia Tatinge Nascimento highlights Brazil's political trajectory while never allowing the weight of historical events to offset key aesthetic trends. Brazilian theater artists born around the time of the nation's 1964 military coup experienced the oppressive rule of dictatorship throughout their formative years, but came of age as Brazil re-entered democracy some two decades later. This book showcases how the post-dictatorship generation developed performances that mapped the uncharted territories of Brazil's political trauma with new dramaturgies, site-specific and street productions, and aesthetic experimentation. The author's in-depth research into a wide array of archival materials and publications in both Portuguese and English demonstrates how the artistic practices of significant post-dictatorship artists such as Cia. dos Atores, Teatro da Vertigem, Grupo Galpao, Os Fofos Encenam, and Newton Moreno were driven by critical thinking and a postcolonial sentiment, proving symptomatic of the nation's shift from an ethos of half-truth telling into a transitional justice that fell short in affirming citizenship. Ideal for scholars of the intersection of theatre and politics, After the Long Silence: The Theater of Brazil's Post-Dictatorship Generation offers insight into the function of theater in times of political turmoil and artmaking practices that emerge in response to oppressive regimes.

The private collector's museum has become a phenomenon of the 21st century. There are some 400 of them around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or 'tombs for trophies', the picture is far more complex and nuanced, as art-market journalist Georgina Adam (author of best-selling Big Bucks and Dark Side of the Boom) shows in her compelling new book. Georgina Adam's investigation into this extraordinary proliferation, based on her recent visits to over 50 private spaces across the US, Europe, China and elsewhere, delves into the reasons behind this boom, the different motivations of collectors to display their art in public, and the various ways in which the institutions are financed. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Should private museums step in to fill a gap left by declining public investment in culture, and what are the implications for society and the arts? At a time of crisis in the museums sector, this book is an essential and thought-provoking read.

Devil May Cry 5 showcases stylish mayhem against fiendish foes at the hands of Devil Hunters with demon blood in their veins. Series mainstay Dante, his nephew Nero, and mysterious newcomer V join forces to hack and slash their way through enemies on a mission to stop the destruction of the human world at the hands of the Demon King Urizen. Devil May Cry 5: Official Artworks collect the fantasy artwork behind this landmark installment in the fan-favorite franchise. Inside you'll find character artwork, weapon designs, creatures, locations, storyboards, and plenty of creative commentary.

A new, updated and expanded edition of this classic survey on the history of Caribbean art, featuring the work of over 100 artists from the period of colonialism to the present day. Caribbean Art presents and discusses the diverse, fascinating and highly accomplished work of Caribbean artists, whether indigenous or from the diaspora, popular or 'high' culture, rural or urban based, politically radical or religious. This expanded edition has a new preface, and has been updated to reflect on recent challenges to the ideological premises and institutions of conventional art-historical practice and their connections to histories of colonialism, Eurocentricity and race. Two new chapters focus on public monuments linked to the history of the Caribbean, and the intersections between art and tourism, raising important questions about cultural representation. Featuring the work of internationally recognized artists such as Sonia Boyce, Christopher Cozier, Wifredo Lam, Ana Mendieta, Ebony G. Patterson, Herve Telemaque, and more than 100 others working across a variety of media, this new edition makes an important contribution to the understanding of Caribbean art and its context, in ways that invite and encourage further explorations on the subject.