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 =

Forty fantastic male speeches for teenagers, all written since the year 2000, by some of the most exciting and acclaimed writers working today. Whether you're applying for drama school, taking an exam, or auditioning for a professional role, it's likely you'll be required to perform one or more monologues, including a piece from a contemporary play. It's vital to come up with something fresh that's suited both to you – in order to allow you to express who you are as a performer – and to the specific purposes of the audition. In this invaluable collection you'll find forty speeches by leading contemporary playwrights including Annie Baker, Jez Butterworth, Nadia Fall, Ella Hickson, Arinzé Kene, Dawn King, Jessica Swale, Jack Thorne, Enda Walsh and Tom Wells, from plays that were premiered at many of the UK's most famous and respected venues, including the National Theatre, Shakespeare's Globe, Manchester Royal Exchange, Royal Court Theatre, Bush Theatre, Traverse Theatre, the Young Vic, and the Edinburgh Festival Fringe. Drawing on her experience as an actor, director and teacher at several leading drama schools, Trilby James introduces each speech with a user-friendly, bullet-point list of ten things you need to know about the character, and then five ideas to help you perform the monologue. This book also features a step-by-step guide to the process of selecting and preparing your speech, and approaching the audition itself. 'Sound practical advice for anyone attending an audition… a source of inspiration for teachers and students alike' Teaching Drama Magazine on The Good Audition Guides

The war in Europe was reaching its cataclysmic final months with Germany surrounded on all sides. Most of Hitler's forces had been driven from Poland by the Red Army and the Soviets were poised a short distance from Berlin, while the Western allies, having repulsed the Fuhrer's Ardennes offensive, were preparing to cross the Rhine. More than ever Hitler needed his people to stiffen their resolve for the coming onslaught. To demonstrate what will be expected of the German people, and what they could achieve if they refused to acknowledge defeat, a major feature film would be shown, featuring the legendary place which held out against Napoleon when he invaded Prussia in 1806 - the city of Kolberg. After crushing the Prussian Army in 1806, French forces swept into the Prussian province of Pomerania. One by one most Prussian fortresses surrendered, mostly without offering any resistance, but Kolberg stood firm. The small and weakly-fortified city held out for almost four months, despite being surrounded by Napoleon's forces, with Major von Gneisenau organising a citizen's militia to aid the army in its defence. Though much of the city was blasted into ruin, Kolberg remained in Prussian hands until the war with France ended with the signing of the Peace of Tilsit, by which time its defence had become legendary. Even though the Third Reich was literally entering its death-throes, in attempting to reproduce the siege of Kolberg on film, thousands of experts, extras and horses were taken from the war effort by the Reich Minister of Propaganda, Joseph Goebbels. The film's emphasis was to show how civilians and the military can work together to save Germany - just as Kolberg had been saved from the French. The result has been stated to be the most expensive feature film ever made in Germany. This book examines the dramatic conditions under which the film was produced, and the scale of the resources needed to do so, followed by its first showing on 30 January 1945. All Goebbels' efforts, though, were to no avail, as the film never went on general release. A month later, as the author reveals, Kolberg found itself under siege once again, but this time, after bitter house-to-house fighting, it fell to the Soviets in just two weeks.

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.

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.

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.

Potted history, quirky facts, sayings, hints and tips about Ireland's celebration and the saint it commemorates.

The Little Book of St Patrick's Day will tell the story of St Patrick and how the holiday began, share the craic with a collection of sayings and describe how the festival is marked around the world (and in outer space).

Separate the myths from the facts, find out how to celebrate at home and be dazzled by quirky facts and stats. Why is the shamrock the symbol of the day, did St Patrick really drive snakes out of Ireland and what should you eat and drink on March 17th?

Find out in this pocket-sized guide to this Irish celebration that has enchanted people of all backgrounds across the globe.

On St Patrick's Day 2011, the Irish-American astronaut Catherine Coleman played a 100-year-old flute belonging to the Irish band The Chieftains, while floating weightless in the space station. Her performance was later included in a track called The Chieftains in Orbit.

A charming collection of quotes about cats from our favourite authors, accompanied by artwork in the trademark style of Paul Magrs (author of The Panda, the Cat and the Dreadful Teddy). ‘I love them, they are so nice and selfish’ – L.M. Montgomery This collection of quotes from the literary greats explores just why cats have fascinated, mesmerised and often infuriated writers for centuries. Celebrating the mystery of these daydreaming, snarky, selfish, watchful, contemplative and changeable creatures, Puss in Books helps cat and book lovers to understand these beings who have intrigued great thinkers and writers since the dawn of time. Quotes include: ‘Time spent with a cat is never wasted’ – Colette ‘Those who play with cats must expect to get scratched’ – Miguel de Cervantes ‘If cats could write history, their history would be mostly about cats’ – Eugen Weber

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.

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 Cabin in the Woods (2012), directed by Drew Goddard and co-authored by Goddard and Joss Whedon of Buffy-fame, was famously described by co-author Whedon as his ‘loving hate letter’ to horror. Interviews with Whedon reveal that his struggles with modern cinematic horror are not merely emotional, but intensely philosophical. This book is the first to read Cabin as a philosophical metatext that asks what horror offers audiences and why audiences accept. Like any good philosophy, the film offers no answers but raises questions: what ‘choices’ are possible in a pre-determined universe? How do we, the audience, see the victims of violence, and with what ethical consequences? And finally, the most fraught question of all: why do we keep looking?

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.

Featuring hundreds of carefully hand-crafted illustrations by the internationally renowned production designer Hans Bacher, Sketchbook - Composition Studies for Film is a unique journey through the mind and creative process of one of the artistic legends in animation film design. Having shaped such films as The Lion King, Mulan and Beauty and the Beast to name a few, Hans’s work is a part of the very cultural fabric of our age. Here the artist puts on display the rarely discussed first part of image making for film, the conceptual thumbnail. Exquisitely beautiful in themselves, these small illustrations represent the birth of what eventually becomes the iconic images we experience on the silver screen. Essential to anyone interested in understanding the skeletal structure that exists underneath stunning imagery in all forms of media, this book is especially relevant today with the dramatic increase of interest in film and game design. Although students today have ready access to and an understanding of technical aspects of the craft using associated software, the area most lacking in accessible information is this quintessential first part of thumb-nailing an image. This unique book will provide the student and professional with the fundamentals of conceptualizing images, and how these can be used in composition in the related fields of illustration, graphic novels, 2D animation, 3D animation, photography and cinematography.

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.’

In 1971, Michael Blakemore joined the National Theatre as Associate Director under Laurence Olivier. The National, still based at the Old Vic, was at a moment of transition awaiting the move to its vast new home on the South Bank. Relying on generous subsidy, it would need an extensive network of supporters in high places. Olivier, a scrupulous and brilliant autocrat from a previous generation, was not the man to deal with these political ramifications. His tenure began to unravel and, behind his back, Peter Hall was appointed to replace him in 1973. As in other aspects of British life, the ethos of public service, which Olivier espoused, was in retreat. Having staged eight productions for the National, Blakemore found himself increasingly uncomfortable under Hall's regime. Stage Blood is the candid and at times painfully funny story of the events that led to his dramatic exit in 1976. He recalls the theatrical triumphs and flops, his volatile relationship with Olivier including directing him in Long Day's Journey into Night, the extravagant dinners in Hall's Barbican flat with Harold Pinter, Jonathan Miller and the other associates, the opening of the new building, and Blakemore's brave and misrepresented decision to speak out. He would not return to the National for fifteen years.

In the decade before his death in 2011, John Hoyland began to reckon with mortality. Confronting his own demise, he painted elegies to departed artist friends and tributes to illustrious artistic forebears. Imagery of the void looms large, but it is a void faced with defiance and vitality, less a rumination on the end than a celebration of life. This publication explores the paintings Hoyland made in this decade, including his final series, the Mysteries. Essays by Natalie Adamson, David Anfam, Matthew Collings and Mel Gooding offer a rich and multifaceted account of a complex body of work. Hoyland’s veneration of Vincent van Gogh, his connections to J.M.W. Turner, the use of black as a colour, his deployment of risk and attempts to subvert his own taste, and his development of the cosmic visual language of the Abstract Expressionists are all discussed. Richly illustrated, the book extends our understanding of Hoyland’s late work within the story of modern painting as a whole.

Cahiers du Cinema: Interviews with Film Directors, 19531970 brings together eighteen directorsOtto Preminger, Roberto Rossellini, John Ford, Howard Hawks, Max Ophuls, Nicholas Ray, Orson Welles, Fritz Lang, Alain Resnais, Jean-Luc Godard, Francois Truffaut, Michelangelo Antonioni, Carl-Theodor Dreyer, Federico Fellini, Robert Bresson, Joseph L. Mankiewicz, Jean Renoir, and Eric Rohmer -- who are among the leading auteurs in the history of the cinema. The interviews were all commissioned for the legendary movie journal Cahiers du Cinema (the oldest such French-language magazine in continuous publication), the first critical enterprise to treat films, particularly Hollywood films, as a serious art form. Co-founded in 1951 by Andre Bazin, Jacques Doniol-Valcroze, and Joseph-Marie Lo Duca, Cahiers was edited, after 1957, by Rohmer himself, including among its writers (and interviewers) Jacques Rivette, Godard, Claude Chabrol, and Truffaut -- all of whom went on to become highly influential filmmakers. Conducted in Cahiers famously in-depth, critical and engaged style, the interviews in this volume catch each director at a crucial juncture in his development as an artist, and stand as a historical record of the dominance of the Euro-American tradition in cinematic art. This is the first such collection of its kind in English, edited with a contextualizing introduction, critical biographies, career filmographies, and a comprehensive index by the American scholar James R. Russo.

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.