This detailed reference provides a complete record of Academy Award winners and nominees through 1991. All nominees in all categories are listed, and the volume includes recipients of special awards as well. Each award category begins with a short headnote that traces the development of the award and discusses significant facts about it. The award categories are divided into sections for each year. Within the listing for a particular year are the nominees for the award, related credits, and the winner of the award.

Shale begins with a short historical overview of the Academy of Motion Picture Arts and Sciences. Part I lists Academy Award winners and nominees by award categories, with sections devoted to annual awards, other awards, and discontinued categories. Part II is a chronological index of Academy Awards. Thus full information for an award can be located through either the type of award or the year. Shale concludes with appendices of academy founders, presidents, and directors of best pictures; a selected, annotated bibliography; and an index. The result is the most comprehensive record of the Academy Awards available.

Offering fresh studies of Samuel Beckett in pre-production, in rehearsal, as an innovator of the script form, and as a speculative director and designer, Beckett’s Laboratory reconsiders Beckett’s stringent approach to stage direction through the lens of the laboratory and reveals his experimentalism with stage representation and composition. Wakeling argues that acknowledging Beckett’s experimental processes, from their composition to their reception, is crucial to understanding the innovative representations of humanity that emerged at different stages in Beckett’s practice. Repositioning Beckett’s performance oeuvre in relation to philosophy, Wakeling draws upon post-dramatic, symbolist, materialist and post-structural understandings of theatre performance to reappraise Beckett’s plays as a composition for performance. The philosophical underpinnings of Beckett’s practices are explored through an eclectic mix of familiar and unexplored contemporary theatre productions and films of Beckett’s works, including Not I, Nacht und Träume, Happy Days, Footfalls and Catastrophe. Beckett’s Laboratory is a provocative examination of Beckett’s experimentalism with the human spectacle and his playful reliance upon the interpretative powers of the actors and audience.

A wonderfully illustrated exploration of one of Hokusai's key motifs: Mount Fuji. Hokusai's Thirty-six Views of Mount Fuji and the three volumes of his subsequent One Hundred Views of Mount Fuji show his fascination with a single motif: Mount Fuji. Hokusai's near-obsession with Fuji was part of his hankering after artistic immortality – in Buddhist and Daoist tradition, Fuji was thought to hold the secret to eternal life, as one popular interpretation of its name suggests: 'Fu-shi' ('not death'). Thirty-six Views of Mount Fuji was produced from c. 1830 to 1832 when Hokusai was in his seventies and at the height of his career. Among the prints are three of the artist's most famous: The Great Wave off Kanagawa, Fine Wind, Clear Morning and Thunderstorm Beneath the Summit. By the time he created his second great tribute to Mount Fuji, three volumes comprising One Hundred Views of Mount Fuji, he was using the artist names Gakyo rojin ('Old Man Crazy to Paint'), and Manji ('Ten Thousand Things', or 'Everything'). Contrasting the mountain's steadfastness and solidity with the ravages of the surrounding elements, Hokusai depicts Fuji through different seasons, weather conditions and settings, and in so doing communicates an important message: while life changes, Fuji stands still. Including all the illustrations from these two masterpieces, this book also features many of Hokusai’s earlier renditions of the mountain, as well as later paintings. In this way, through Mount Fuji, this volume traces a history of Hokusai’s oeuvre overall.

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For better or worse, television has been the dominant medium of communication for 50 years. Almost all American households have a television set; many have more than one. Transmitting images and sounds electronically is a relatively recent invention, one that required passionate inventors, determined businessmen, government regulators, and willing consumers. This volume in the Greenwood Technographies series covers the history of television from 19th-century European conceptions of transmitting moving images electrically to the death of TV as a discrete system in a digital age. Magoun also discusses the changing face of television in the displays that people watch around the globe. Television: The Life Story of a Technology discusses significant developments in the technological and social lives of people during the history of the television. It appeals to students and lay readers alike by highlighting key events and people: BLthe American engineers and entrepreneurs such as Vladimir Zworykin and David Sarnoff who ignited the television industry; BLthe bloom of programming choices in tandem with the Baby Boom generation; BLthe developmetn of cable and satellite TV; BLthe Asians who innovated American inventions in videorecording and flat-panel displays; BLthe use of TV in wartime; BLand the new worlds of digital and high-definition television. Based on the latest research, this crisply written, sometimes provocative survey includes a glossary, timeline, and bibliography for further information. Vladimir Zworykin -- whose work ignited the entire television industry BLHow the television industry and commercial programming bloomed in tandem with the Baby Boom generation The late-twentiethcentury expansion of cable television and the decline of the broadcast networks, and the new world of high-definition television. The volume includes a glossary of terms, a timeline of important events, and a selected bibliography of resources for further information.

Shortlisted for the 2022 TaPRA David Bradby Monograph Prize Applied Theatre is a widely accepted term to describe a set of practices that encompass community, social and participatory theatre making. It is an area of performance practice that is flourishing across global contexts and communities. However, this proliferation is not unproblematic. A Pedagogy of Utopia offers a critical consideration of long-term applied and participatory theatre projects. In doing so, it provides a timely analysis of some of the concepts that inform applied theatre and outlines a new way of thinking about making theatre with differing groups of participants. The book problematizes some key concepts including safe spaces, voice, ethical practice and resistance. Selina Busby analyses applied theatre projects in India, the USA and the UK, in youth theatres, homeless shelters, prisons and with those living in informal housing settlements to consider her key question: What might a pedagogy of utopia look like? Drawing on 20-years of practice in a range of contexts, this book focuses on long-term interventions that raise troubling questions about applied theatre, cultural colonialism and power, while arguing that community or participatory theatre conversely has the potential to generate a resilient sense of optimism, or what Busby terms, a ‘nebulous utopia’.

Camp TV of the 1960s offers a comprehensive understanding of all of the many forms camp TV took during that critical decade. In reevaluating the history of camp on television, the authors reconsider the infantilized conceptualization of sixties television, which has generally been characterized as the creative and cultural ebb between the 1950s Golden Age of television and the networks' shift to "relevance" in the early 1970s. Encompassing contributions from a broad range of media and television scholars that (re)consider programs like Batman, The Monkees, The Addams Family, Bewitched, F Troop, The Beverly Hillbillies, and Rowan & Martin's Laugh-In, chapters closely examine beloved 1960s American prime-time programs that drew significantly on aspects of camp, many of which were widely syndicated and left continuing imprints on popular culture. Other chapters consider key TV precursors from the early sixties; British camp television programs such as The Avengers; the use of musical codes to convey camp humor (even on black-and-white sets); the role that the viewing strategies of queer communities played - and continued to play even decades later; and how camp's multivalence allowed for more conservative readings, especially among older audiences, which were critical for the move to "mass camp" throughout American culture by the early seventies. Camp TV of the 1960s is essential reading for students and scholars in television studies and others interested in the history and theory of camp, the 1960s, or popular culture, as well as fans of these well-known but generally understudied television programs.

The 1979 film Alien has left an indelible mark on popular culture. Directed by Ridley Scott, at the time known primarily for making advertisements, and starring then-unknown actor Sigourney Weaver in the lead role, it transcended its humble origins to shock and disturb audiences upon its initial release. Its success has led to three direct sequels, two prequels, one “mashup” franchise, a series of comic books, graphic novels, novelizations, games, and an enormous and devoted fanbase. For forty years, Alien and its progeny have animated debate and discussion among critics and academics from a wide variety of fields and methodological perspectives. This book brings together scholars from diverse disciplinary backgrounds to explore Alien through a contemporary lens. The chapters here demonstrate the extent to which its effects and reception are deeply multifaceted, with the Alien franchise straddling the lines between “high” and “low” culture, playing with generic categories, crossing media boundaries, and animating theoretical, critical, and political debates. Chapters touch on female agency and motherhood, the influence of H.R. Giger, the viscerality of Alien's body horror, the narrative tradition of the Female Gothic, the patriarchal gaze in the Alien video games, and the rise of in-universe online marketing campaigns. In so doing, the volume aims to debate Alien's legacy, consider its current position within visual culture, and establish what the series means—and why it still matters—forty years since its birth.

"Intertextuality" is the overarching idea that all texts and conversations are linked to other texts and conversations, and that people create and infer meanings in discourse through making and interpreting these links. Intertextuality is fundamentally connected to metadiscourse; when a person draws on or references one text or conversation in another (intertextuality), they necessarily communicate something about that text or conversation (metadiscourse). While scholars have long recognized the interrelatedness of these two theoretical concepts, existing studies have tended to focus on one or the other, leaving underexplored the specific ways in which these phenomena are intertwined at the micro-interactional level, especially online, and for what purposes. This interactional sociolinguistic study contributes to filling this gap by demonstrating how specific intertextual linking strategies, both linguistic (e.g., word repetition, deictic pronouns) and multimodal (e.g., emojis, symbols, and GIFs), are mobilized by posters participating in online weight loss discussion boards. These strategies serve as a resource to accomplish the metadiscursive activities, targeted at various levels of discourse, through which participants construct shared understandings, negotiate the group's interactional norms, and facilitate engagement in the group's primary shared activity: exchanging information about, and providing support for, weight loss, healthful eating, and related issues. By rigorously applying the perspective of metadiscourse in a study of intertextuality, Intertextuality 2.0 offers important new insights into why intertextuality occurs and what it accomplishes: it helps people manage the challenges of communication.

Since the 1960s, documentary films have moved closer to the mainstream, thanks to the popularity of rockumentaries, association with the independent film movement, support from public and cable television, and the rise of streaming video services. Documentary films have become reliable earners at the U.S. box office and ubiquitous on streaming platforms, while historically they existed on the margins of mainstream media. How do we explain the growing commercialization of documentary films and the conditions that fueled their transformation? The growing commercialization of documentary film has not gone unnoticed, but it has not been sufficiently explained. Streaming and the growing interest in reality TV are usually offered as initial explanations whenever a documentary enters the cultural conversation or breaks a box-office record, but neither of those causes grapple with the overlapping causal mechanisms that commercialized documentary film. How Documentaries Went Mainstream provides a more comprehensive and meaningful periodization of the commercialization of documentary film. Although the commercial ascension of documentary films might seem meteoric, it is the culmination of decades-long efforts that have developed and fortified the audience for documentary features. Author Nora Stone refines rough explanations of these efforts through a robust synoptic history of the market for documentary films, using knowledge of film economics and the norms of industry discourse to tell a richer story. This periodization will allow scholars to compare the commercialization of documentary film with other genres. Drawing on archival documents, industry trade journals and popular press, and interviews with filmmakers and film distributors, Stone illuminates how documentary features have become more plentiful, popular, and profitable than ever before.

This new work contains the most comprehensive bibliography of Orson Welles' work and material written on Welles. It presents a concise history of Welles' life and career, paying special attention to the ways he was presented by the media. At different points in his career, he was portrayed as a young genius, a spoiled brat, a European playboy, a political rebel, and both a consistent failure as well as a consistent master of the arts. The book examines the material which led to such public impressions and determines how and why these materials presented him in such a way, while comparing it to the truth of Orson Welles: the man, the artist, and the showman. Following the biographical sketch on Welles in the opening section, the next section of the book presents a brief yet precise analysis of each of Welles' projects, with particular emphasis on the works he was unable to complete and those which have been diminished by outside editing or since lost. The third and final section is a comprehensive bibliography of Welles' writings, productions, and appearances. It also includes a complete listing of material devoted to Welles, with notes determining which are of greatest value in the study of Welles' life and career. This book is an indispensable tool in the study of Welles' career. It also serves as a valuable reference source for use in courses in broadcasting, theater, and especially film.

Though first performed some 400 years ago, the plays of William Shakespeare still continue to capture the popular imagination and are produced by numerous companies around the world. This reference describes over 140 Shakespeare companies and festivals worldwide. Each company or festival is profiled in a separate entry. Entries are grouped in chapters devoted to particular states or countries, and provide historical, organizational, demographic, and production information. Each profile describes the history of the festival or company; its organization, including staffing and budgeting; its physical facilities and performance site; the demographics of its audience and the community where it is located; and the company's or festival's approach to producing Shakespeare's plays. Each entry begins with a headnote providing essential information, such as the name, address, box office phone number, length of season, principal staff members, facilities, annual attendance, and budget. Each closes with a chronological listing of all Shakespeare's plays produced by the organization, and resources for further information.

One of the most enchanting figures of the silver screen, Ronald Colman appeared in such classic films as Beau Geste, The Prisoner of Zenda, Lost Horizon, and A Tale of Two Cities. He was nominated four times for the Academy Award, which he won for a spectacular performance in A Double Life. His voice was unrivaled, and he had a brilliant career as a radio star. A charismatically photogenic performer, he was voted the handsomest actor in Hollywood on several occasions. His superior skills, his dashing visage, and his resonant speech made him one of the most sought after and acclaimed stars of his day. In spite of his enormous talent and supreme achievements, Ronald Colman has strangely been overlooked. This immensely detailed reference book brings Colman's life and career into sharp focus, corrects misleading information about him, and comments on the critical response to his work. The heart of this expertly researched volume is a series of chapters with entries for Colman's many hundreds of performances in film, radio, and television. Entries provide full production information, plot synopses, excerpts from reviews, and valuable commentary. An extensive annotated bibliography summarizes and assesses material written about Colman, and the author scrupulously debunks the many myths that have been written about Colman in previous publications.

This is the first major study in English of cine quinqui, a cycle of popular Spanish films from the late 1970s and early 1980s that starred real-life juvenile delinquents. The book provides a close analysis of key quinqui films by directors such as Eloy de la Iglesia, José Antonio de la Loma and Carlos, as well as the moral panics, public fears and media debates that surrounded their controversial production and reception. In paying particular attention to the soundtrack of the films, the book shows how marginal youth cultures during Spain’s transition to democracy were shaped by sound. It will be of interest to scholars and students of Spanish film, history and cultural studies, and those working in sound studies and youth subcultures more broadly. -- .

This study chronicles the life and career of Ellen Stewart and her experimental theater, Cafe La Mama. Once an accomplished Black fashion designer, Stewart--with no experience in theater--founded and developed one of the most influential experimental theaters in the world. The volume includes a short biography, a chronology of the most significant events related to Stewart and La Mama, a record of the more than 1400 plays produced at La Mama, and an annotated bibliography. Appendices list La Mama's Obie awards, awards won by Stewart, and shows directed by Stewart. The volume presents a fascinating account of the physical, emotional, and political conditions surrounding the history of Cafe La Mama, while focusing on a Black American artist who boldly forged a niche in an area previously inaccessible to Black women.

Recent crime films such as Scarface, the Dirty Harry series, and The Godfather have captured the American imagination, but they owe a large debt to the early crime talkies such as The Public Enemy, Paul Muni's Scarface, and Little Caesar. More than 1,000 entries are featured in this volume, complete with the names of directors, screen writers, and major players offering a wealth of data supported by plot evaluations. For the serious student of crime films, this work provides a comprehensive treatment of the genre. It is the only one-volume work that includes all crime sub-genres (detective, mystery, cops and robbers, and courtroom dramas) in addition to gangster films. The period between the end of the silent film (1927) and the general acceptance of the sound film (1929) is often referred to as a transition period. The majority of theaters were not wired for sound, so many films were released in both silent and sound versions. Some added only sound effects or music to the sound track, while others offered only brief segments of sound. The early 1930s marked the end of this transition period and firmly established the sound era. This volume pays homage to these early, often crude melodramas. The authors aim to preserve the memories of these films for their own generation and to introduce these works to a new generation thirsty for entertainment and knowledge.

The Holocaust was the defining cataclysm of modernity. Now, more than three quarters of a century later, the immersive, interactive technologies of the digital age are dramatically refashioning our memory of that genocide. Virtual Holocaust Memory offers the first comprehensive account of a unique historical juncture, as twenty-first century digital culture meets the edge of living Holocaust memory. The book considers a range of projects that are being developed by museums, archives, businesses, and educational organizations in the USA and Europe, including interactive video testimony, Virtual Reality films, Augmented Reality apps, museum installations, and online exhibitions. Drawing on an original conceptual framework that incorporates connective memory, palimpsestic testimony, and a notion of 'truthfulness' first applied to testimonial writing by the survivor Charlotte Delbo, this groundbreaking book argues that the value of virtual Holocaust memory—that is to say its truthfulness—will ultimately come to rest on the connections that it establishes across a complex set of subject positions. These range from 'new bystanders', who encounter Holocaust memory from a position of relative safety, to the traumatized victims whose extreme physical and psychological experiences made communicating so difficult in the first place.