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.

From the creators of the podcast and bestselling book Ghibliotheque, this is a young film fan's comprehensive guide to one of the most exciting and influential film studios in cinema history, creators of beloved classics ranging from Spirited Away and My Neighbour Totoro to Ponyo and Kiki's Delivery Service. Across eight chapters, we will get up close and personal with the movies, learn who's who at the Oscar-winning studio and explore the impact that Ghibli World has left on our planet.

An illustrated selection of Van Gogh’s letters, forming an extraordinary window into the life and creative thinking of one of the world’s most iconic artists. Vincent van Gogh’s letters have long been prized as some of the most valuable documents in the world of art. Not only do they throw light on Van Gogh’s own complex and intriguing character, they enlighten the whole creative process as seen through his eyes. Here we can observe Van Gogh’s thoughts and opinions at first hand, as well as his close ties with his brother Theo, his sometimes troubled relationships with friends and fellow artists, his personal doubts and fears, and above all his overriding passion for his art. This is not only an immense treasure trove of biographical and art-historical information, it provides a lasting pleasure as a personal written testimony to a life consecrated to art. Vincent van Gogh: A Life in Letters belongs on the shelves of every reader in search of self-revelatory documents of one of the greatest creative minds.

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").

In June 2006 delegates from eight countries representing six French, US, and British-based learned societies met at St Catherine's College, Oxford, for a conference on the French long seventeenth century entitled 'Modernites/Modernities'. Nineteen of the best papers on theatre, fiction and poetry were selected for this volume, and they present new perspectives on novels as different as L'Astree and Le Roman bourgeois, comedy and tragedy, actors' practices, the ballet de cour and the burgeoning genre of opera, and a time span from Du Bellay to Mme de Gomez. The cardinal feature of this wide range of topics lies in the unifying factor of vibrant modernity.

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.

The English humour magazine Punch, or the London Charivari, which first appeared in 1841, quickly became something of a national institution with a large and multi-layered readership. Though comic in tone, Punch was deeply serious about upholding high literary and artistic standards, about dealing with seriuos subject-matter, and about attempting to nurture its readers' appreciation of the national drama and of Shakespeare's plays in particular. The author's detailed examination of Punch's constant advocacy of Shakespeare reveals telling new evidence concerning the ubiquitous presence of Shakespeare within Victorian culture. New research in the Punch archives and elsewhere also reveals the identities of many of the Punch authors and artists. The author shows how those who worked for Punch often subsumed their collective identities within the single persona of Mr. Punch, a fictional creation who repeatedly presents himself in both texts and graphics as a close friend and admirer of Shakespeare, a man able to remind Victorian readers constantly of the supreme literary and moral values represented by Shakespeare's works.

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.

A major task confronting today's scholars is the reclamation from near oblivion of a multitude of works of art, literature, music, scholarship, and other creative enterprises by eighteenth-century women. This fascinating collection provides a multifaceted approach to understanding the roles played by women as both creators of and subjects within works of art in the eighteenth century. A series of initial essays examines the biographical and historical conditions in which women of the times lived and worked. Some essays explore the attitudes of women themselves and how they perceived their roles, as well as their expectations expressed by male authors. Other essays focus on women's contributions to particular arts, notably poetry, the novel, music, and painting. A final section attends to research itself, reporting first on collaborative efforts to identify individual eighteenth-century women authors and discover trends in their writing. In addition, an alternative to the traditional scholarly methods course is provided in an example of the original research directed toward the rediscovery and understanding of the texts of Elizabeth Griffeth. This entertaining collection will foster new appreciation for the presence of women in the arts of the eighteenth century. An important contribution to women's studies, this volume is sure to be of special interest to students and scholars alike.

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.

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.

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.

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).

This volume closely examines the near-ubiquitous images of state security walls, domes, and other such defense enclosures flashing across movie screens since 2006, the year of the ratification of George W. Bush’s Secure Fence Act. This study shows that many of the films of this era enable us to imaginatively test the effects of these security mechanisms on citizens, immigrants, refugees, and other sovereign states, challenging our commitment to constructing them, maintaining them, staffing them, and subsidizing their enormous overheads. With case studies ranging from Atomic Blonde and Ready Player One to Black Panther and Elysium; Walls without Cinema serves as a timely counterpoint to the xenophobic rhetoric and abusive, carceral security conditions that characterize the Trump administration’s management of the Mexico-U.S. border situation.

Long before the screen placed the face of Mary Pickford before the eyes of millions of Americans, this girl, born August 13, 1860 as Phoebe Anne Oakley Moses, had won the right to the title of “America’s Sweetheart.� Having grown up learning to shoot game to help support her family, Annie won first prize and met her future husband at a shooting match when she was fifteen years old. He convinced her to change her name to Annie Oakley and became her husband, manager, and number-one fan for the next fifty years. Annie quickly gained worldwide fame as an incredible crack shot, and could amaze audiences at her uncanny accuracy with nearly any rifle or pistol, whether aiming at stationary objects or shooting fast-flying targets from the cockpit of a moving airplane. Despite struggles with her health and even a long, drawn-out legal battle with media magnate William Randolph Hearst, Annie Oakley poured her energy into advocating for the U.S. military, encouraging women to engage in sport shooting, and supporting orphans.

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.