Dystopian literature is a potent vehicle for criticizing existing social conditions and political systems. While utopian literature portrays ideal worlds, dystopian literature depicts the flaws and failures of imaginative societies. Often these societies are related to utopias, and the dystopian writers have chosen to reveal shortcomings of those social systems previously considered ideal. This reference overviews dystopian theory and summarizes and analyzes numerous dystopian works. By reviewing the critical thought of particular dystopian theorists, the beginning of the volume provides a theoretical context for the remainder of the book. Because dystopian literature is so closely related to utopian writing, the reference profiles and discusses eight important utopian works. The rest of the book includes entries for numerous dystopian novels, plays, and films. Each entry summarizes the work and discusses dystopian themes. The entries include short bibliographies, with full bibliographic information provided at the end of the volume. This comprehensive guide covers the full period from Thomas More's Utopia to the present day.

Bringing together a multidisciplinary group of scholars from around the world, Netflix’s Chilling Adventures of Sabrina: Hell’s Under New Management presents perspectives on the television show that situates it within contemporary discourses of genre, form, historical place, ideology, and aesthetics. The essays collected by editors Cori Mathis, Stephanie A. Graves, and Melissa Tyndall illustrate that the series is not simply interesting in the context of its status as an extension of Riverdale's narrative or as a reimagining of the popular 1990s sitcom Sabrina the Teenage Witch. Instead, with its unique blend of the Gothic, horror, and melodrama to approach the coming-of-age narrative, the series is a complex, enduring work and a significant part of the teen television canon. This thought-provoking essay collection provides multiple entry points into television studies for scholars and students alike.

Acting Is Believing has trained generations of actors and remains one of the most popular and influential classic Stanislavski-based acting books over the past sixty years. Now in its thirteenth edition, it has been reimagined for the art of acting in the twenty-first century. Stanislavski expanded our understanding of the mysterious process that results in truthful acting, devising practical steps to pursue the most elusive element of the artform—inspiration. Acting Is Believing: Stanislavski in the 21st Century, 13th Edition, introduces students to all the major concepts of Stanislavski’s System of Acting, providing them with a logical process through which they can master this complex art. It breaks down even the most complex elements defining human behavior in ways that are easy to digest. This new edition has been greatly updated, including: Reworked chapters throughout to bring Stanislavski’s theories to life in a language that speaks to today’s actors A new approach to entering Stanislavski’s Creative State, broken into an innovative five-part process Updated discussions on anxiety, physical tension, social inhibitions, and intimacy onstage Modified solo and group exercises Expanded appendix on self-directed scene study Refined and updated glossary of acting, theatre, and film terminology Acting Is Believing remains grounded in Stanislavski-based technique training, yet this latest text has evolved as a vital resource for twenty-first century artists pursing acting careers in theatre, film, and television. With a foreword by two-time Tony Award winning actor, Norbert Leo Butz, Acting Is Believing continues to set the gold standard in the art of acting for a new generation.

This reference work on Boris Karloff presents a comprehensive record of the life and career of this famous performer. The volume begins with a biography, which succinctly presents the facts of Karloff's life. A chronology of his significant achievements follows. The remaining chapters overview Karloff's broad career. Chapters document and comment upon his film, stage, radio, and television performances. A discography is included as well. The book concludes with an annotated bibliography of books and articles about Karloff, along with a comprehensive index.

This provocative work analyzes Mae West's long life and productive career in three major phases: the early theater years, her meteoric film career in the thirties, and her subsequent life as a popular culture legend. It examines her theatrical approach to life and her unique talent for translating a low comic variety style into a subtle satire of melodramatic conventions. West's attempts to control her comic creation led her into many public battles over her claims to authorship of her plays and filmscripts. The book's bibliography explores her talents as a writer, summarizing the plays and books she wrote and investigating the validity of those claims. A thorough study of West's background and attitudes, this volume combines the approaches of both biographical and critical/artistic analysis and broadens our understanding of how Mae West fits into American popular culture. The book examines West's philosophy of success and how it was reflected in her personal and professional life, and places her in a historical and cultural perspective without forcing her personality into predetermined categories. This bio-bibliography provides a fresh view of the legendary Mae West, and a new insight into the complexity of her artistry and social vision. It will be a valuable addition to all public libraries, and a useful resource in the study of American popular culture and film history.

Ever since the premiere for the first Mickey Mouse cartoon in 1928, Disney has played a central role in American popular culture, which has progressively expanded to include a global market. The company positioned itself to be a central role in family entertainment, and many of its offerings – from films to consumable products – have deeply embedded themselves into not only the imaginations of children and adults, but also into the threads of one’s life experience. It is difficult to go through life without encountering one Disney product. Because of this, fans of Disney build connections with their favourite characters and franchises, some of which are fuelled further by Disney’s own marketing practices. Similarly, Disney responds to the cultural values of the era through its films and other media offerings. In this volume, scholars from varying backgrounds take a close look at facets of the Disney canon as more than agents of entertainment or consumption, and into underlying messages at the very heart of the Disney phenomenon: the cultural response that drives the corporation’s massive production and marketing machine. The relationship between Disney and its fans is one of loyalty and love, shaping cultural behaviours and values through the brand and its products. Disney responds in kind with a synergistic approach that makes it possible to experience Disney in any format at any given time. Primary readership will be academics, researchers, educators, scholars and students working in the fields of media and cultural studies, especially those interested in marketing and branding, and in the Disney Company in general. The accessible writing style and the range of topics covered make it suitable for postgraduate students and academics working in these fields, as well as third-year undergraduate students. The book will also appeal to academics working in the related fields of tourism studies, film and television studies and, given the focus of some of the chapters, in gender studies. Although academic in focus, the accessible writing style does mean that it may also have appeal to the non-academic reader and fans of Disney.

A tweet by American actor and activist Alyssa Milano, sent on October 15, 2017, opened the floodgates to an outpouring of testimony and witnessing across the Twitterverse that reverberated throughout social media. Facebook status lines quickly began to read “Me too,� and #MeToo was trending. That tweet re-launched the ‘me too’ movement, which was started in 2006 by Tarana Burke. Performing #MeToo: How Not to Look Away does not attempt to deliver a comprehensive examination of how #MeToo is performed. What it does aim at presenting is a set of perspectives on the events identified as representative of the movement through a lens or lenses that are multinational, as well as work and analysis from a variety of time periods, written in a diversity of styles. By providing this means of engaging with examples of the many interpretations of and responses to the #MeToo movement, and by identifying these responses (and those of audiences) as provocations, of examples of how not to look away, the collected chapters are intended to invite reflection, discussion and, hopefully, incite action. It gives writers from diverse cultural and environmental contexts an opportunity to speak about this cultural moment in their own voices. There is a wide geographical range and variety of forms of performance addressed in this timely new book. The international group of contributors are based in the UK, USA, Australia, South Africa, Scotland, Canada, India, Italy and South Korea. The topics addressed by writers include socially engaged practice; celebrity feminism, archive and repertoire; rape/war; misogynistic speech; stage management and intimacy facilitation; key institutions’ responses; spatial practices as well as temporal ones; academic call-outs; caste/class; political contexts; adaptation of classic texts; activist events; bouffon (a clown technique) and audience response Forms of performance practice include applied theatre, performance protest, verbatim, solo performance, institutional practice, staging of plays, street responses, academic, adaptation of classic text, play reading events and the musical. Although there is much to read in the media and alternative media on the #MeToo movement, this is the first attempt to analyse the movement from and in such diverse contexts. Bringing together twelve writers to speak about works they have either performed, witnessed or studied gives the reader a nuanced way of looking at the movement and its impact. It is also an incredible archive of this moment in time that points to its importance.  Suitable for use in several graduate and undergraduate courses, including performance studies, feminist studies, sociology, psychology, anthropology, environmental or liberal studies and social history. Essential reading for theatre workers, academics, students, and anyone with an interest in feminism, contemporary theatre or human rights. For artists considering projects that include the themes of #MeToo, and for producers and directors of such projects looking for good practices around how to create environments of safety in their organizations, as well as those who wish to organize communities of artists. For anyone interested in learning more about how to support the movement, or an interest in the specific social narratives told in each individual chapter. For women, feminists and anyone with an interest in the issues.

From his role in The Terminator to his more recent work as Governator of California, Arnold Schwarzenegger has played a major role in American popular culture. This accessible and entertaining biography traces the trajectory of Arnold's career-sports figure turned movie star turned entrepreneur turned politician. Elected as governor of California in 2003, Arnold Schwarzenegger now dramatically and vividly represents the determination and, to a great extent, the relentlessness necessary for achieving great fame, political power, and iconic status. While many readers will have read about his benchmark achievements, this biography will reveal the surprising complexities behind the public scenes and put them into a larger cultural context. Photos and a timeline of significant events round out this insightful biography. From his role in The Terminator to his more recent work as Governator of California, Arnold Schwarzenegger has played a major role in American popular culture. This biography traces the fascinating trajectory of Arnold's career-sports figure turned movie star turned entrepreneur turned politician. Elected as governor of California in 2003, Arnold Schwarzenegger now dramatically and vividly represents the determination and, to a great extent, the relentlessness necessary for achieving great fame, political power, and iconic status. Arnold's life has been characterized by public notoriety. While many readers will have heard or read about his benchmark achievements, this biography will reveal the surprising complexities behind the public scenes and put them into a larger cultural context. Photos and a timeline of significant events round out this entertaining and insightful biography.

There's nothing better than enjoying an activity with your friends! Gather yours and re-create iconic moments with this deluxe collection of over 25 official patterns for amigurumi, housewares, costume replicas, inspired apparel, and more both inspired by and pulled directly from the hit TV show, Friends. Featuring patterns for all skill levels, beautiful full-colour photography, step-by-step instructions, and clearly presented charts and schematics, Friends: The One with the Crochet is the ultimate crocheter's guide to the show that's always been there for you.

This is a book about Palestinians elsewhere and Palestinian elsewheres. Articulating an ambiguous right to remain out-of-place as a spatialized response to the fossilized present, the films and filmmakers in this book examine Palestine, as a place and idea, from the dissonance of exile. An Atonal Cinema: Resistance, Counterpoint and Dialogue in Transnational Palestine theorizes a transnational consciousness within contemporary Palestinian cinema as one which articulates an ‘atonal’ cinema, utilizing contrapuntal dialogue as a mode of resistance with which to respond critically to the ‘place-myth’ of Palestine in films produced within Palestine but without Palestinians. Drawing on a genealogy of Edward Said’s atonal thinking of counterpoint, I argue that the films in this book display a ‘double-consciousness’, through which Palestine is simultaneously elided and re-inscribed in a contrapuntal dialogue between the ‘here’ of its contemporary reality and the ‘elsewhere’ of its historical image. An Atonal Cinema’s radical approach includes cinematic texts from Europe, South America and Israel in its corpus, which have both triggered and been shaped by critical responses in contemporary Palestinian Cinema. Drawing on both literature and cinema, An Atonal Cinema draws on the work of Edward Said, Mahmoud Darwish, Jean Genet and Carlo Levi. Films by Pier Paolo Pasolini, Jean-Luc Godard, Menahem Golan and Miguel Littín are read contrapuntally through contemporary responses from Ayreen Anastas, Basma Alsharif, Mohanad Yaqubi, Elia Suleiman and Kamal Aljafari.

This directory details the output of transcriptions from the Armed Forces Radio Service from the beginning in 1942 up to 1967. Since many official papers of the early days are no longer available, the information was gathered from many private sources. The range of programs the AFRS covered was immense. Particularly during the war years the accent was on entertainment. Popular and classical music and comedy and drama shows were rebroadcast over AFRS stations all over the world. The AFRS also produced many programs designed to inform and educate. This directory attempts to present the complete range of series the AFRS transmitted.

Collectors and followers of popular, country or series music and of drama or comedy shows will appreciate the short description of the AFRS shows, complete with cast names and issues and recording dates, that comprise the entries. The entries are organized by series and include the Libraries series, H-Series, Network Series, R-Series, and Assigned Matrix Numbers. An appendix of non-AFRS transcriptions is included along with a bibliography for further research.

Despite its rise in the global market, recent political progress, and a surging interest worldwide, Korean films are relatively unknown and rarely studied. This new work begins by investigating the history, industry structure, and trends of filmmaking in Korea, going on to examine how Hollywood films have affected both Korean mainstream and nonmainstream film industries in terms of both means of production and narrative. Moreover, the authors analyze the ways in which Korean films of recent years have represented the modernization process in Korea itself, as well as the ideological implications that arise from the cinematic constructions of Korean imagination.

More than a mere chronological account of Korean cinematic history, DEGREESIKorean Film DEGREESR attempts to consider the films as a popular cultural form that have a life beyond their theatrical runs: stars, genres, and key movies become part of any culture's identity, and in their narratives and meanings can be located evidence of the ways in which a culture makes sense of itself. Korea has never before been given such an extensive treatment of this central idea, and here for the first time, the nation's culture and cinema are merged into one discussion that both reflects and shapes our understanding of it.

The complete, authorised scripts, including deleted scenes, of the multiple award-winning Succession. 'The best TV show in the world.' The Times 'Just about the best thing I've ever seen on television.' New Statesman 'The best television around.' Guardian ** Winner of thirteen Emmys, five Golden Globes, three BAFTAs and a Grammy. ** With an exclusive introduction from Frank Rich. I wonder if the sad I'd be from being without you might be less than the sad I get from being with you? Kendall Roy is dealing with fallout from his hostile takeover attempt of Waystar Royco and the heavy guilt from a fatal accident. Shiv stands poised to make her way into the upper-echelons of the company, which is causing complications for Tom, which is causing complications for Greg. Meanwhile, Roman is reacquainting himself with the business by starting at the bottom, as Connor prepares to launch an unlikely bid for president. Collected here for the first time, the complete scripts of Succession: Season Two feature unseen extra material, including deleted scenes, alternative dialogue and character directions. They reveal a unique insight into the writing, creation and development of a TV sensation and a screen-writing masterpiece.

Michael Cimino’s The Deer Hunter was met with both critical and commercial success upon its release in 1978. However, it was also highly controversial and came to be seen as a powerful statement on the human cost of America's longest war and as a colonialist glorification of anti-Asian violence. Brad Prager's study of the film considers its significance as a war movie and contextualizes its critical reception. Drawing on an archive of contemporaneous materials, as well as an in-depth analysis of the film’s lighting, mise-en-scène, multiple cameras and shifting depths of field, Prager examines how the film simultaneously presents itself as a work of cinematic realism, while problematically blurring the lines between fact and fiction. While Cimino felt he had no responsibility to historical truth, depicting a highly stylized version of his own fantasies about the Vietnam War, Prager argues that The Deer Hunter’s formal elements were used to bolster his troubling depictions of war and race. Finally, comparing the film with later depictions of US-led intervention such as Albert and Allen Hughes’s Dead Presidents (1995) and Spike Lee’s Da Five Bloods (2020), Prager illuminates The Deer Hunter’s major presumptions, blind spots and omissions, while also presenting a case for its classic status.

TV-Philosophy in Action is inspired by philosopher and series-devotee Sandra Laugier’s monthly columns published in the French journal Libération. It is her contribution to the collective reflection on TV series produced by critics, theorists, and the vast mass of individual watchers who evaluate and discuss these programmes every day. The book brings together a selection of articles from Libération, as well as longer pieces, to demonstrate ‘TV-Philosophy in action’: Laugier’s response as a philosopher-viewer to a range of particularly salient TV shows from the last 20 years, and their relationship to social and political issues of our times. Arranged under a number of important themes—relating to politics, identity, and the stories we tell ourselves about our world—the book shows how TV series provide a rich resource for thinking about our lives, and places them centre-stage as works of art, and of thought, in their own right.

Widely acknowledged as a major turning point in the history of visual depictions of war, Francisco de Goya’s renowned print series The Disasters of War remains a touchstone for serious engagement with the violence of war and the questions raised by its artistic representation. The Art of Witnessing provides a new account of Goya’s print series by taking readers through the forty-seven prints he dedicated to the violence of war. Drawing on facets of Goya’s artistry rarely considered together before, the book challenges the notion that documentary realism and historical testimony were his primary aims. Michael Iarocci argues that while the depiction of war’s atrocities was central to Goya’s project, the lasting power of the print series stems from the artist’s complex moral and aesthetic meditations on the subject. Making novel contributions to longstanding debates about historical memory, testimony, and the representation of violence, The Art of Witnessing tells a new story, print by print, to highlight the ways in which Goya’s masterpiece extends far beyond conventional understandings of visual testimony.