Initially created to counteract broadcasts from Nazi Germany, the BBC’s Eastern Service became a cauldron of global modernism and an unlikely nexus of artistic exchange. Directed at an educated Indian audience, its programming provided remarkable moments: Listeners in India heard James Joyce reading from Finnegans Wake on the eve of independence, as well as the literary criticism of E. M. Forster and the works of Indian writers living in London. In Radio Empire, Daniel Ryan Morse demonstrates the significance of the Eastern Service for global Anglophone literature and literary broadcasting. He traces how modernist writers used radio to experiment with form and introduce postcolonial literature to global audiences. While innovative authors consciously sought to incorporate radio’s formal features into the novel, literature also exerted a reciprocal and profound influence on twentieth-century broadcasting. Reading Joyce and Forster alongside Attia Hosain, Mulk Raj Anand, and Venu Chitale, Morse demonstrates how the need to appeal to listeners at the edges of the empire pushed the boundaries of literary work in London, inspired high-cultural broadcasting in England, and formed an invisible but influential global network. Adding a transnational perspective to scholarship on radio modernism, Radio Empire demonstrates how the history of broadcasting outside of Western Europe offers a new understanding of the relationship between colonial center and periphery.

'A hilarious must read.' - Jameela Jamil 'Funny, frank and inspiring' - Lenny Henry All her life, London longed to be a badass, an awesome bulletproof star nobody could mess with - someone who takes no shit - and in Living My Best Life, Hun, she lifts the lid on how she went from secretly writing Frasier fan fiction alone in her bedroom to taking Hollywood by storm. It hasn't been an easy journey; from birthday parties gone wrong and dealing with bullies every step of the way, to getting blocked by Foxtons (long story) and being mistaken for the cleaner at a comedy competition (true story), London leaves no stone unturned. It took London some time to find her voice and her people, but now that she has, she's mentally high-fiving her fourteen-year-old self every day. Frank, fearless and funny, Living My Best Life, Hun will inspire you to ditch the self-loathing, start the self-loving and engage with your inner winner.

The Twilight Zone has evolved from a groundbreaking speculative television series into a cultural phenomenon. The recently revived series on FOX averaged 4.6 million viewers on its first episode. Indeed, the title itself conjures up thoughts of fantastic stories that bridge several forms of fiction to create a unique genre of morality tales with a touch of irony, unlimited by the boundaries of conventional fiction. Broadcast from 1959 to 1964, the show has run ever since in syndication, making it one of the longest running television shows of all time, creating a new genre of shows similar to the X-Files and Twin Peaks. Five writers created the core of the show, and together these men fashioned the bulk of the 156 original episodes: Rod Serling, Richard Matheson, Charles Beaumont, George Clayton Johnson, and Earl Hamner. All went on to other projects in film, television, theater, and print, but their involvement in the Twilight Zone is well known to fans of the series. The Twilight Zone Scripts of Earl Hamner contains reprints of the eight episodes written by Hamner, along with Albarella's commentary on each story: The Hunt, "" ""A Piano in the House, "" ""Jess-Belle, "" ""Ring-a-Ding Girl, "" ""You Drive, "" ""Black Leather Jackets, "" ""Stopover in a Quiet Town, "" and ""The Bewitchin' Pool."" Also included is a ""lost"" Twilight Zone short story by Mr. Hamner and an interview with Albarella that covers the background details of how Hamner became involved in the series.""

Film magazine Little White Lies invites you to relive 300 movie moments – from the iconic to the downright filthy – in this hilarious new party game for film lovers.   Simply pick a quote and ask your friends to transform it by filling in the blank with a phrase from another classic film. The funniest movie mash-up wins! As seen in Total Film

Everyone has their favourite Monty Python sketches, often quoted almost verbatim, whether it is 'the Parrot Sketch', 'the Cheese Shop' or 'Blackmail' - amongst many. Likewise the Python films, the mere mention of which might solicit quotes like ‘Tis but a flesh wound’ or ‘He’s not the Messiah, he’s a very naughty boy’. But what lies beyond these well-remembered favourites? How many remember the 'Fresh Fruit Self Defence' sketch, or 'the Fish-Slapping dance'? Or even such almost-forgotten curios as 'Blancmanges Playing Tennis', 'The Olympic Hide And Seek Final' and 'The Batley Townswomen’s Guild Re-enacting Pearl Harbour'. This book will shine a light on all of these often-hilarious - but occasionally misfiring - curios. As well as the films and all 45 TV episodes, the record albums are also analyses for their content and how they differed from the TV show, as well as the books which came out as spin-off merchandise - but were never less than brilliantly entertaining for all that. How did Python come to be, what tensions were there between its stars, and what was the atmosphere like when the crew reunited to make the films long after they had left their TV show days behind them? All this will get an answer and much, much more... Now, do you want to read for five minutes, or the full half-hour?

From rural Japan to international icon - Yayoi Kusama has spent her remarkable life immersed in her art. Follow her incredible journey in this vivid graphic biography which details her bold departure from Japan as a young artist, her embrace of the buzzing New York art scene in the 1960s, and her eventual return home and rise to twenty-first-century super-fame.

The first monograph on the architectural sculptor and installation artist and long-time collaborator with the New York School poets Best known for creating large-scale installation work inspired by American vernacular architecture, Dennis finds beauty in places shaped by ordinary people, which become repositories for memory and feelings. Her seemingly familiar yet often darkly mysterious sites evoke memories, encourage reflection, and allude to the transient nature of life. This book contextualizes Dennis's work within contemporary art and the women's movements and traces the arc of her career, tracing the evolution of her architectural sculpture over more than forty years, exploring her artistic collaborations with poets, and presenting her most recent work, a series of gouaches and dioramas, for the first time. A conversation between Dennis and painter Rackstraw Downes brings to life the artist's influences through her own words. With insightful text by feminist art scholar Helaine Posner, plus commentary from Dennis on the sources and process of creating the work, this book is an essential addition to the libraries of collectors and art historians interested in the architectural sculpture movement of the 1970s, and all those interested in feminism in art.

Here is a classic collection of writings by the Surrealists on their mad love of moviegoing. Forty-odd theoretical, polemical, and poetical essays document Surrealism's scandalous and nonreductive take on film. The essayists include such names as Breton, Aragon, Desnos, Dali, Bunuel, and Man Ray, as well as many of the less famous, though equally fascinating figures of the movement.

Table of Contents: Available light / Paul Hammond

Some surrealist advice / The Surrealist Group
War letter / Jacques Vache
On decor / Louis Aragon
Cinema U.S.A. / Philippe Soupault
Battlegrounds and commonplaces / Rene Crevel
Against commercial cinema / Benjamin Peret
Buster Keaton's College / Luis Bunuel
Abstract of a critical history of the cinema / Salvador Dali

The marvelous is popular / Ado Kyrou

As in a wood / Andre Breton
Picture palaces / Robert Desnos
Plan for a cinema at the bottom of a lake / Bernard Roger
The lights go up / Jacques Brunius
Surrealism and cinema / Jean Goudal
Introduction to black-and-white magic / Albert Valentin
Crossing the bridge / Jacques Brunius
Sorcery and cinema / Antonin Artaud
The screen's prestige / Jacques Brunius
Remarks on cinematic oneirism / Robert Benayoun
The cinema, instrument of poetry / Luis Bunuel
Malombra, aura of absolute love / The Romanian Surrealist Group
Data toward the irrational enlargement of a film: The Shanghai Gesture / The Surrealist Group

The film and I / Ado Kyrou
Cinemage / Man Ray
Another kind of cinema / Marcel Marien
Intention and surprise / Nora Mitrani
The ideal summa / Petr Kral
Turkey broth and unlabeled love potions / Gerard Legrand
The fantastic - the marvelous / Ado Kyrou
Concerning King Kong / Jean Ferry
Larry Semon's message / Petr Kral
Hands off love / The Surrealist Group
Chaplin, the copper's nark / Jean-Louis Bedouin
Manifesto of the Surrealists concerning L'ge d'orr / The Surrealist Group

Zaroff; or, The prosperities of vice / Robert Benayoun
Eroticism / Robert Desnos
Eroticism = love / Ado Kyrou
Au repas des guerrieres / Nelly Kaplan
Female x film =

In 1964 Lucian Freud set his students at the Norwich College of Art an assignment: to paint naked self-portraits and to make them 'revealing, telling, believable... really shameless'. It was advice that the artist was often to follow himself. Visceral, unflinching and often nude, Freud's self-portraits give us an insight into the development of his style as a painter. The works provide the viewer with a constant reminder of the artist's overwhelming presence, whether he is confronting the viewer directly or only present as a shadow or in a reflection. Essays by leading authorities - including those who knew him well - explore Freud's life and work, and analyse the importance of self-portraiture in his practice and the intensity that he maintained when studying his own.

Here is a selection of paintings by artist Robert Geoghegan about his home city of Birmingham where he has lived for all his life. His work is full of the detail and colour of modern urban life, often combined with a nostalgia for old Birmingham. Some of the works portray ordinary everyday scenes like someone walking dogs, a lollipop man or getting on the bus with an off peak pass, while others show many of the city's landmarks such as Selfridges, Aston Hall and the Custard Factory but always with a comic twist. There's something here for everyone – from depictions of modern-day Goths in Pigeon Park to yesteryear's children hanging off the back of the old Corporation buses. There's football pictures about the Blues, Villa and West Brom – both tragic and comic! One about Jasper Carrott and of course King Kong has to make an appearance. Here the Birmingham buses are peopled by bears, Morris dancers, druids, Santa Claus and even the Royal Family. There's pictures of Birmingham's public statues: the Iron Man squaring up to a Cyberman, Bullie being harassed and the statue of Victorian reformer Thomas Attwood attracting the attention of the police. The Beatles, characters from Father Ted, Dracula, Daleks and the Peaky Blinders all make an appearance in this enthralling collection. Robert sells prints of his work at local art markets in Moseley, Kings Heath and the MAC as well as in the city centre before Christmas. His work is also available to purchase online at robspaintings.com. As well as being a practicing artist, Robert is an art tutor who has run art sessions in primary schools for many years and also teaches drawing and painting to adults.

On October 3, 1960, The Andy Griffith Show began its eight-year reign as one of the top-ten television shows in the country. Now, almost 50 years later, the original 249 episodes still remain among the most frequently watched syndicated shows on television. In 1991, Neal Brower began to write a regular column called "Professor Brower's Class" in The Bullet, the newsletter for the show's fan club, The Andy Griffith Show Rerun Watchers Club. The Bullet, which was published three times a year, was distributed to approximately 15,000 members of the 1,000 worldwide chapters. In his column, Brower focused on one of the show's episodes. Through interviews with writers, directors, producers, actors, and other people associated with the show, Brower offered insights into the scriptwriting, production, photography, casting, and musical scoring. Although Brower's first few columns consisted primarily of his personal observations and comments about the episode, later columns concentrated on letting the participants tell the Mayberry story. Brower realized that the pace of writing only three episodes a year was too slow a process. The stories that he discovered needed to be told before the memories faded. This book resulted from the need to tell the story in a more timely format. In this volume, Brower focuses on the 79 episodes written by Harvey Bullock, Everett Greenbaum, Sam Bobrick, and their partners. These writers were responsible for such popular episodes as "Opie the Birdman," "Mr. McBeevee," "My Fair Ernest T. Bass," "The Pickle Story," "A Date for Gomer," and "The Darlings Are Coming." When asked if he would help with this project, writer Everett Greenbaum responded, "Neal, I will be glad to answer your questions because I feel it is important to keep the memories alive." Thanks to Everett and all who shared their observations, Mayberry 101 now preserves a behind-the-scenes peak at the Mayberry story. Neal Brower, a United Methodist minister, teaches a ten-week course about The Andy Griffith Show at community colleges throughout North Carolina. Since 1988, he has taught the course over twenty times at six colleges. He is a native of Asheboro, North Carolina.

The Iranian director Abbas Kiarostami burst onto the international film scene in the early 1990s and was widely regarded as one of the most distinctive and talented modern-day directors. His major features - including Through the Olive Trees (1994), Taste of Cherry (1997) and The Wind Will Carry Us (1999) - are relatively modest in scale, contemplative and humanist in tone. In 2002, with 10, Kiarostami broke new ground, fixing one or two digital cameras on a car's dashboard to film ten conversations between the driver (Mania Akbari) and her various passengers. The results are astonishing: though formally rigorous, even austere, and documentary-like in its style, 10 succeeds both as emotionally affecting human drama and as a critical analysis of everyday life in modern Tehran. In his study of the film, Geoff Andrew considers 10 within the context of Kiarostami's career, of Iranian cinema's renaissance, and of international film culture. Drawing on a number of detailed interviews he conducted with both Kiarostami and his lead actress, Andrew sheds light on the unusual methods used in making the film, on its political relevance, and on its remarkably subtle aesthetic. He also argues that 10 was an important turning-point in the career of a film-maker who was not only one of contemporary cinema's most accomplished practitioners but also one of its most radical experimentalists.

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before. In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre, Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades. This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Purcell explores the very nature of feminist theater—does it qualify if a play is written by a woman or does it just need to feature strong female characters?—as well as how notable activist work for feminism has played a pivotal role in theatre. An engaging survey of female artists on stage and behind the scenes, From Aphra Behn to Fun Home will be of interest to theatregoers and anyone interested in the invaluable contributions of women in the performing arts.

In creating and developing the new genre of the televised novela, a one-hour long dramatic serial, the Brazilian television industry grew, in less than 15 years, from an insignificant player in the international market to one of the largest, most influential in the world. In the first book in English to explore the phenomenon of the telenovela Michele and Armand Mattelart challenge accepted views of the world dominance of United States television and probe the socioeconomic impact of this new genre on a third world country. Using the telenovela and its impact on the medium world-wide, the authors document the important changes in the international circulation of television programs and in the way television is perceived theoretically as a subject of research. The book traces the development of the novela in a country that, in the early 1960s, did not have any nationwide media and later--from 1964 to the 1970s--was ruled by a military dictatorship. It further analyzes the formation of the genre and its mode of production, placing the novela's appearance and development in its cultural, institutional, and economic context. The authors look at the peculiar contradictory relation between the genre's creators and developers--generally left wing intellectuals--and the manipulations required to construct a television industry in a highly competitive marketplace.

The book begins with a description of the economic, institutional, and cultural context which produced the genre. It explores the world of soap operas, the development of a national television industry, and the beginnings of an urban consumer society in Brazil. The authors include a valuable and detailed study of the mode of production of the telenovela, placing both the form and content of the genre in their specific economic and institutional context. The book goes on to examine the relationship between the genre and its wider social and cultural environment, explaining its immense popularity and the social function it fulfills. Finally, the authors link the study of Brazilian television to wider debates in media and cultural studies.

The countries surrounding the Baltic Sea - Denmark, Estonia, Latvia, Finland, Germany, Lithuania, Poland, Russia, and Sweden - have experienced immense social and political change, from the territorial maneuverings of Sweden, Russia, and Denmark, the reunification of Germany, to more recent moves towards independence of Eastern Bloc countries as the Soviet Union crumbled. Tensions surrounding the Baltic Sea have not dissipated but rather new challenges and contentions have emerged, resulting in a multicultural and multilingual region. Dance in the region has been tightly interwoven with political trends and events, yet the dance history of the region to date has focused almost entirely on state sponsored folk and classical dance. Dance, Diversity and Difference presents contemporary stories of dance, revealing the diverse voices of dance practitioners and demonstrating the ways in which dance has connections with families, societies, governments, the economy and can offer fresh insights into cultural and political change.

Everything from early conceptual work through performance and touring are covered in this how-to book for dance management. Dancers will create a fictional company and follow it through a myriad of steps and complexities necessary for a successful production and troupe. After establishing a mission statement; holding auditions; and considering the specific needs of music, sound, lighting, costuming, and make up, the manual provides would-be dance directors with basic theater terminology and the skills needed when planning marketing and public relations campaigns.

Natalie Wood and “lovely� Richard Beymer, to the mercurial Jerome Robbins and “passionate� Rita Moreno, with whom Chakiris remains friends. “I know exactly where my gratitude belongs,� Chakiris writes, “and I still marvel at how, unbeknownst to me at the time, the joyful path of my life was paved one night in 1949 when Jerome Robbins sat Leonard Bernstein and Arthur Laurents down in his apartment and announced, ‘I have an idea.’"

The Red Lion production of Love and Miss Harris is booked to tour America, opening in Manhattan. On arrival the group finds that it’s not the Manhattan with the Great White Way of Broadway at its glittering heart, but the part between the Bowery and the East River, on the Lower East Side, in a vaudeville venue owned by a local mobster. And when members of a rival gang decide to disrupt the play, the action shifts from the theatre’s state to its auditorium… Determined to fulfil the rest of their tour dates, the company heads west from New York. Try as they might to shake it off, trouble seems to follow them wherever they go.  What readers are saying about LOVE AND MISS HARRIS (The Company of Fools, Book 1) ‘A cast of wonderful characters brings this story of life and love, and all the troubles that brings with it to magical fruition in this wonderful story. I highly recommend this to anyone who likes stories that engage and entertain.’ ‘The writing is smart and witty. The author describes details including scenery, clothing and food beautifully... makes me want to be amongst the beauty again.’ ‘A very pleasant and interesting story about days gone by.’

Movie studios are the wondrous, almost magical locales where not just films, but legends, are created. Unfortunately, these celebrity playgrounds are, and always have been, largely hidden from public view. Although some movie studios offer tours, few guests from outside the Hollywood community have ever been witness to the artistry, politics, and scandals that routinely go on behind the soundstage walls and away from the carefully orchestrated scenes visible to them from their tram carts. In this book, studio staff historian and Hollywood insider Steven Bingen throws open Hollywood’s iron gates and takes you inside the greatest and yet most mysterious movie studio of them all: Warner Bros. Long home to the world’s biggest stars and most memorable films and television shows, the Warner Bros. Studio lot functions as a small city and is even more fascinating, glamorous, and outrageous than any of the stars or movies that it has been routinely minting for more than ninety years. Accompanied by stunning behind-the-scenes photos and maps, and including a revealing backstory, this book is your ticket to a previously veiled Hollywood paradise.

Political humor and satire are, perhaps, as old as comedy itself, and they are crucial to our society and our collective sense of self. Satire is confrontational. It's about push back, descent, discord, disappointment, and demonstrating the absurdity of the status quo. This book is an attempt to explore the sane foundations of satire in our lives. Aristotle famously said that humans are naturally political animals. We need political community to flourish and live good lives. But politics also always entails unpopular decisions and power struggles. Satire is a form of humor that allows us to reflect on the irrational, incomprehensible, and intolerable nature of our lives without becoming totally despondent or depressed. In a poignant, pithy, but not a ponderous manner, Al Gini and Abraham Singer delve into the history of satire to rejoice in its triumphs and watch its development from ancient graffiti to the latest late night TV talk show.

En Grande Grèce, le bel Adonis a largement inspiré les peintres, en majorité apuliens, qui ont illustré les différents épisodes du mythe, dont la remontée des Enfers, assimilable au renouveau de la végétation, thème en rapport avec la destination funéraire des vases. Hormis l'arbre à myrrhe, qui lui a donné naissance, trois plantes sont particulièrement associées à Adonis, le myrte, le laurier et le grenadier. Leur représentation est le sujet de cette étude.