Martin Scorsese’s Documentary Histories: Migrations, Movies, Music is the first comprehensive study of Martin Scorsese’s prolific work as a documentary filmmaker. Highlighting the historiographic aims of the director’s various non-fiction film, video, and television productions, Mike Meneghetti re-examines Scorsese’s documentaries as resourceful audiovisual histories of migrations, movies, and popular music. Italianamerican’s critical immersion in the post-Sixties ethnic revival inaugurates Scorsese’s decades-long documentary project in 1974, and the era’s developing vernacular of reclamation would shape each of his subsequent non-fiction efforts. Martin Scorsese's Documentary Histories surveys the succeeding films’ decisive adherence to this language of retrieval. With extended analyses of Italianamerican, American Boy: A Profile of Steven Prince, The Last Waltz, Shine a Light, Feel Like Going Home, No Direction Home: Bob Dylan, Il mio viaggio in Italia, and A Letter to Elia among others, Meneghetti resituates Scorsese’s filmmaking within the wider contexts of documentary history and American culture.

On the 20th anniversary of artistic director Thomas Ostermeier’s time at Berlin's Schaubühne Theatre, this important study reflects on the contribution the theatre has made to contemporary theatre, not just in Germany, but around the world. Ostermeier has kept extending and refining the important notion of German Regietheater (directors' theatre) with the Schaubühne Theatre being its internationally famous birthplace under the previous artistic direction of Peter Stein. Through doing so, the work produced at the Schaubühne has transgressed established divides of text-based and devised theatre, and blurred the borders between theatre and dance. Combining scholarly reflection with interview material, this essential collection investigates how theatre has been reinvented by the Schaubühne under Ostermeier's tenure, bringing together international theatre scholars such as Erika Fischer-Lichte, Marvin Carlson, Jitka Goriaux Pelechova, Benjamin Fowler, Ramona Mosse and Sabine Huschka. This study also considers productions by some of Ostermeier's past and present collaborators, such as Katie Mitchell, Falk Richter and Sasha Waltz. This edition also includes the first English translation of Schaubühne's original manifesto “The Mission� (1999); a contribution from Ostermeier's long-term co-director Jens Hillje; a contribution from Hans-Thies Lehmann on Falk Richter; and an interview with Thomas Ostermeier by Clare Finburgh Delijani.

'Read any history of the Nineties in Britain and you will read about Britpop, Blair, the birth of the Premier League and the rise of new lads. I played no part in any of these events. Growing up in a tiny rural village on Dartmoor, no bands came within 100 miles, all the local farmers voted Tory, our nearest football team was in the fourth division, and the closest I got to being a new lad was when my older brother let me drink some of his Hooch.' In Watching the Nineties, much-loved comedian Josh Widdicombe tells the story of a strange rural childhood, the kind of childhood he only realised was weird when he left home and started telling people about it. From only having four people in his year at school, to living in a family home where they didn't just not bother locking the front door, they didn't even have a key. Using a different television show of the time as it's starting point for each chapter Watching the Nineties is part-childhood memoir, part-comic history of 90s television and culture. It will discuss everything from the dangers of recreating Gladiators in your front room, to Josh's belief that Mr Blobby is one of the great comic characters, to being the only vegetarian child west of Bristol. Together it tells the story of the end of an era, the last time when watching television was a shared experience for the family and the nation, before the internet meant everyone watched different things at different times on different devices, headphones on to make absolutely sure no one could watch it with them.