From the moment she appeared on the American silver screen as a runaway princess in "Roman Holiday," Audrey Hepburn was beloved by critics and audiences alike. From her childhood activism in the Dutch resistance movement during World War II, to her extensive film career, her charity work for UNICEF, and her roles as a wife, mother, and fashion icon, Audrey Hepburn's place in American cultural history is brought to life for a new generation of readers. Featuring illustrations, a timeline of events, a selected bibliography, and an appendix of Hepburn's film, stage, and TV appearances, this volume will appeal to students of American studies, American history, film, and popular culture.

A graceful and diminutive presence onscreen, Hepburn breathed life into some of the most iconic film roles in Hollywood history. To study her life is to study American fashion and culture, especially classic films of the 50s, 60s, and 70s. Her story also illuminates the experience of everyday people living in Europe during World War II, and the possibilities of modern-day activism as exemplified in her work for UNICEF in the 80s and early 90s. From her childhood activism in the Dutch resistance movement during World War II, to her extensive film career, her charity work for UNICEF.

With entertaining flair, this engaging biography explores the life and work of one of the most beloved actresses ever to grace the stage and screen. Readers will explore the German occupation of her hometown during World War II and her anti-Nazi resistance activities, her early stage roles and her discovery by French novelist Colette, who cast her in the stage production of Gigi, her status as fashion icon, and a behind-the-scenes look into the casting and filming of some of her most well-known films, including "Breakfast at Tiffany's," " Sabrina," and "My Fair Lady."

The Arden Research Handbook of Contemporary Shakespeare Criticism is a wide-ranging, authoritative guide to research on critical approaches to Shakespeare by an international team of leading scholars. It contains chapters on 20 specific critical practices, each grounded in analysis of a Shakespeare play. These practices range from foundational approaches including character studies, close reading and genre studies, through those that emerged in the 1970s and 1980s that challenged the preconceptions on which traditional liberal humanism is based, including feminism, cultural materialism and new historicism. Perspectives drawn from postcolonial, queer studies and critical race studies, besides more recent critical practices including presentism, ecofeminism and cognitive ethology all receive detailed treatment. In addition to its coverage of distinct critical approaches, the handbook contains various sections that provide non-specialists with practical help: an A–Z glossary of key terms and concepts, a chronology of major publications and events, an introduction to resources for study of the field and a substantial annotated bibliography.

Novels and films record and codify the cultural experiences of their people. This book explores the relationship between contemporary literature and film of the past fifty years and the ancient myths of Judeo-Christian, Greek, Celtic, and Eastern origin. Following a detailed description and explanation of both literary and film devices, stories that inform to a mythic tradition are analyzed to identify what they reveal about modern culture. This work explores such diverse subjects as heroism, coming of age, and morality. This approach to literature and film explores how contemporary fiction and film fulfill a continuum in our never-ending search to understand how life ought to be lived. Encompassing a broad spectrum of modern film and fiction, a variety of authors and directors are represented. Included are novels from such writers as Stephen King, Alice Walker, Ken Kesey, Jerzy Kosinski, Robert Penn Warren, and Michael Ondaatje. Film directors include Stephen Spielberg, Hal Ashby, Phil Alden Robinson, George Stevens, Robert Rossen, and Milos Forman. As a valuable resource for film and literature classes alike, this work also provides suggestions for student projects.

Garbo talked, Gilbert self-destructed and Chaplin refused - that's about all many people know about silent film actors who faced the transition into talking pictures. Yes, Greta Garbo's talkie debut was successful, John Gilbert's was disastrous, and Charlie Chaplin did not deign to make one for over a decade. But there were many others - both stars and lesser lights - who also made the leap for at least one talking film.From Renee Adoree to Loretta Young, over 500 actors and actresses who made at least three silent films and had some starring or supporting roles in sound films are included in this reference work. For each performer, the place of birth, vital dates, nicknames if any, real name if different from stage name, and a source for filmographic data are included. This information is followed by capsule accounts of the performer's silent and sound careers, along with contemporary reviews of selected talkies in which they appeared.

When you first heard it, you couldn't believe it: Jerry Mathers, from TV's Leave It To Beaver, had been killed in Vietnam. Then word came that Abe Vigoda, the actor who played the curmudgeonly cop Fish on Barney Miller, was dead; and that Mikey, who would eat anything as the Life Cereal tyke, had eaten too many Pop Rocks and exploded. By the '90s, people were certain that Steve, from the animated kiddie show Blue's Clues, had died of a heroin addiction; that watching Sailor Moon caused convulsions; and that Josh Savino, Kevin's geeky pal on The Wonder Years, had grown up to become Marilyn Manson. Besides exposing us to things we couldn't otherwise believe, television can convince us of things that never actually happened. But how did these outrageous TV legends get started? How did they spread from classrooms to boardrooms across North America and beyond? And, most important, what do these rumors, so quickly transformed into facts and common knowledge, reveal about our relationship to reality through the medium of television? Put in other words, what exactly is it that were doing when were dealing in these fabulous rumors--are we chasing after surprising truths or simply more incredible entertainment? To take one telling example: Jerry Mathers was not actually killed in Vietnam--but the basic sense of this lie wasn't far removed from the emotions factually expressed in the two-page spread of the faces of the dead in Time magazine. In the course of this compelling work--which is supplemented with interviews with many of the people implicated in these rumors--author Bill Brioux exposes the reality behind the many stories that currently circulate in our culture. Through these stories (bothtrue and false), he sheds a revealing light on just what role these rumors play in contemporary society--and what role our society plays in regard to these rumors as well.

Since the early 1970s there has been a surge of interest in using the arts as a vehicle to facilitate interaction between young and old. "Intergenerational Arts in the Nursing Home" examines some of the programs that have been tested and proven effective. Because sources of funding have become less secure in the late 1980s and early 1990s, Patch Clark examines other ways to support, maintain, and further develop these valuable programs.

Educational programs based in the social studies, home economics, social skills, as well as the arts and language arts are described. To assist those hoping to implement similar programs, key components of successful programs are discussed in considerable detail. Information concerning fundraising, including a step-by-step guide to intergenerational interagency grant writing, is provided. Ideas and simulated activities designed to prepare the general public for intergenerational activities, such as training in the public schools, pretraining in the nursing home, and awareness training through literature, are presented. Two chapters examine mutually enjoyable intergenerational activities in drama, writing, poetry, movement, dance, and music. The appendixes include an annotated bibliography, plays, and worksheets and charts for some of the many projects suggested in this volume. Clark's book reaches across the arts, ages, and curricula, and succeeds in combining talents in the arts and academics for a mutually beneficial intercurricular, intergenerational experience. It should be required reading for retirement and senior center activity directors and teachers at all levels interested in facilitating intergenerational interaction.

With 26 films to his credit and numerous international prizes, Satyajit Ray is India's most recognized filmmaker--yet, no extended study of his films has previouly been published in English in the West. Ben Nyce examines each of Ray's films in close detail and provides a cinematic examination of his unique style. Nyce explores Ray's career chronologically to best chart his stylistic development as a filmaker. Each chapter considers one film and how it expressed the particular quality of rhythm and mood which characterizes his work. Narrative synopses are first presented, and the opinions of his critics are continually noted and discussed. Included are studies of the following well known films: "Pather Panchali," "Aparajito," "Apur Sanar" ("The Apu Trilogy"), "Jalsagha"r ("The Music Room"), "Ashani Sanket" ("Distant Thunder"), and "Ghare-Baire" ("The Home and the World").

A] long overdue retrospective of the major playwrights, theatre companies, and professional organizations which have sustained the children's theatre movement in this country. . . . Part One of McCaslin's book is a historical overview of the significant trends and changes which have characterized children's theatre and influenced the art and craft of playwriting. . . . Part Two, the bulk of McCaslin's guide, contains an alphabetical listing of over 350 educational, community, and commercial theatre companies as wella s national and regional organizations--some no longer operating--which have made children's theatre the main thrust of their work. . . . Several appendixes augment the usefulness of this altogether practical and meticulously researched reference book.

"Children's Literature Association Quarterly"

An authoritative reference for children's theater professionals, educators, and enthusiasts, McCaslin's historical guide will be frequently used in public, college, and university libraries. "ARBA"

Those who are associated with children's theater in any way will want to study this book thoroughly and keep it as a handy reference guide. . . . Thanks to Nellie McCaslin, the history of children's theater can take its rightful place beside all other theater history. "Applause"

Professor McCaslin, a leading authority in the field, examines the history of the companies and organizations that struggled to bring live theatrical entertainment to children from 1903, beginning with a theater founded by a settlement house on New York's Lower East Side, to the present day. She begins with an overview of children's theatre history. The main text consists of alphabetically arranged profiles of both early and current producing companies and associations that have made a significant contribution to the field. Appendixes to the volume supply a Personalities Roster, a Geographical Index, and a Chronology of Events significant in the history of the children's theatre movement.

From the winner of the 2014 Regional Emmy Award for A Farm Winter with Jerry Apps Jerry Apps, renowned author and veteran storyteller, believes that storytelling is the key to maintaining our humanity, fostering connection, and preserving our common history. In Telling Your Story, he offers tips for people who are interested in telling their own stories. Readers will learn how to choose stories from their memories, how to journal, and find tips for writing and oral storytelling as well as Jerry's seasoned tips on speaking to a live radio or TV audience. Telling Your Story reveals how Jerry weaves together his stories and teaches how to transform experiences into cherished tales. Along the way, readers will learn about the value of storytelling and how this skill ties generations together, preserves local history, and much more.

This study examines the major works of contemporary American television and film screenwriter, Joss Whedon. The authors argue that these works are part of an existentialist tradition that stretches back from the French atheistic existentialist Jean-Paul Sartre, through the Danish Christian existentialist, Soren Kierkegaard, to the Russian novelist and existentialist, Fyodor Dostoevsky. Whedon and Dostoevsky, for example, seem preoccupied with the problem of evil and human freedom. Both argue that in each and every one of us ""a demon lies hidden."" Whedon personifies these demons and has them wandering about and causing havoc. Dostoevsky treats the subject only slightly more seriously. Chapters cover such topics as Russian existentialism and vampire slayage; moral choices; ethics; faith and bad faith; constructing reality through existential choice; some limitations of science and technology; love and self-sacrifice; love, witchcraft, and vengeance; soul mates and moral responsibility; love and moral choice; forms of freedom; and Whedon as moral philosopher.

This multifaceted study, the companion volume to Leiter's From Stanislavsky to Barrault: Representative Directors of the European Stage (Greenwood Press, 1991), provides exhaustively detailed, yet compact accounts of the careers and accomplishments of eight outstanding directors of the English-speaking stage as well as separate, thorough bibliographies and chronologies of each. Samuel L. Leiter selected directors David Belasco, Harley Granville-Barker, George Abbott, Sir Tyrone Guthrie, Margaret Webster, Elia Kazan, Joan Littlewood, and Peter Brook as exemplars of the broad spectrum of directorial art as it has developed in the twentieth century; his cogent introduction identifies salient aspects of that art and reveals the wide divergence of directorial styles and techniques employed by the group. From commercial to classic to avant garde, their stylistic attitudes toward production include Belasco's minutely detailed naturalism, Guthrie's whimsical interpretations of the classics, and Littlewood's improvisational, anti-establishment, left-wing stance. Their varied rehearsal methods show how these directorial greats transformed the nature of the theatre experience through their unique vision of what stage production could encompass. Innovations by these directors in both the shape and function of the performance space are highlighted as are their theatre writings, many of which form the foundation for Western theatrical thought in our times. Following the introduction, each of the eight chapters is organized into subsections that discuss the individual director's career, concept of theatre art and directing, and actual working methods. Each director is thoroughly assessed in terms ofrepertory, major productions, theoretical concerns, casting methods, rehearsal processes, and techniques of working with actors, playwrights, designers, and composers. Separate chronologies and a select bibliography complete the work, which will have significant appeal to a diverse group of readers, from stage directing students and their teachers to active professionals in the field and those general readers seeking a broader understanding of twentieth century theatre and stage direction. An excellent choice for text or supplementary reading for classes in stage directing.

The trajectory of Hong Kong films had been drastically affected long before the city’s official sovereignty transfer from the British to the Chinese in 1997. The change in course has become more visible in recent years as China has aggressively developed its national film industry and assumed the role of powerhouse in East Asia’s cinematic landscape. The author introduces the “Cinema of Transitions� to study the New Hong Kong Cinema and on- and off-screen life against this background. Using examples from the 1980s to the present, this book offers a fresh perspective on how Hong Kong-related Chinese-language films, filmmakers, audiences, and the workings of film business in East Asia have become major platforms on which “transitions� are negotiated.

King Hu's A Touch of Zen is the first book-length study of a classic martial arts film from 1971-- the first Chinese-language film to gain recognition in an international film festival (it won a major prize at the 1975 Cannes Film Festival) and which provided the generic mould for the latter "crossover" success of Ang Lee's Crouching Tiger Hidden Dragon in 2000.

The immense popularity of movies has its roots in the silent films of the early 1900s, this being especially true of the crime genre. The authors of this Guide have compiled for the first time in one volume an entire history of the crime genre during the silent era, preserving the memories of these films for their own generation and introducing these works to a new generation thirsty for entertainment and knowledge. This Guide includes more than 2,000 film entries, complete with names of directors, screenwriters, and major players and offers a wealth of data supported by plot evaluations and occasional thematic commentaries. This is the only work that includes one- and two-reelers and serials along with full-length crime features.

Each entry covers title, date of release, distributor or studio, director, screenwriter, major cast members, plot description, and thematic commentary, reviving this almost forgotten genre for generations of students and movie fans both old and new. The Guide pays tribute to the glory of cinema pioneers as diverse as D. W. Griffith and Lon Chaney who have given the world a wide variety of stories and experiences both thought-provoking and startling. Although men tended to dominate the silent years in Hollywood, women managed to contribute dramatically. Among them were director Lois Weber and film personalities Mabel Normand, Pearl White, Mary Pickford, and Ruth Roland. These creative men and women and their often neglected works deserve a second look. The likes of Pacino, Eastwood, and Brando can look to the past where the ground for their work was carefully prepared in such earlier silent films as Griffith's "The Musketeers of Pig Alley" (1912) and von Sternberg's "Underworld (1927).

George Sidney directed a number of popular Hollywood films, such as Anchors Aweigh, Show Boat, Kiss Me Kate, and Bye Bye Birdie. His revisions of traditional Hollywood product resulted in films that remain surprisingly modern, and his work continues to influence popular culture. But despite the popularity of his films, Sidney has been a largely unheralded figure in film history. This book is the first serious, full-length study of Sidney's life and work. A critical introduction to the volume explains how Sidney was given a minor place in film history, despite his many significant achievements. The book examines Sidney's canon in relation to the work of his contemporaries and reveals how he was both a Hollywood insider and an iconoclast who created mainstream films with strikingly modern sensibility. The detailed filmography provides thorough documentation for Sidney's many features, short subjects, screen tests, documentaries, and uncredited sequences in other directors' films. By drawing upon interviews with former coworkers, archival material, and rare stills and photographs, Monder reassesses Sidney's career.

Societies around the world have their puppet traditions and puppetry remains a vital theatrical art; yet puppetry has received little attention in the theoretical study of theatre. The present study offers an aesthetic theory and vocabulary for practitioners, critics, and audiences to utilize in creating, evaluating, viewing, and describing the age-old, yet ever-new art of the puppet.

Asserting that no satisfactory theory or descriptive vocabulary has yet been advanced for the theatrical puppet, Steve Tillis seeks the underlying principles through observation and analysis of puppetry in all its manifestations. He considers the disparate range of puppet performance and puppet construction to determine what is constant and what is variable and explores such theoretical problems as how a puppet is to be defined; how its appeal is to be explained, and how its performance is to be described. Reviewing standard responses to these problems in a thorough survey of the literature on puppetry, he then offers new solutions. In an interesting coda, Tillis discusses the power of the puppet as a metaphor of humanity and a term applied to particular people. This is an essential text not only for college puppetry courses but also for all serious puppet artists, as well as scholars and researchers in performance theory and practice, and more general audiences.

Despite overwhelming acclaim for his work, director Terrence Malick remains an under-examined figure of an era of filmmaking that also produced such notables as Robert Altman, Francis Ford Coppola, and Martin Scorsese. His films "Badlands" and "Days of Heaven" remain benchmarks of American cinema, while his recent "The Thin Red Line" returned him to the pantheon of American directors. In this new study, authors James Morrison and Thomas Schur examine each of his films in detail, drawing on extensive archival research to construct a portrait of his working methods as a director as well as the thematic, aesthetic, and cultural components of his work.

Moreover, aside from tracing the development of Malick's filmmaking from its beginnings to the present, the book compares his finished pictures to their original shooting scripts, and so provides a unique means of exploring the nature of his working methods and the ways in which they influence the final products. Revealing the ways in which these films connect to and depart from evolving traditions of the last 30 years, "The Films of Terrence Malick" provides a comprehensive and penetrating study as well as an informative and adventurous work of film criticism.