Dagara Verbal Art examines verbal art among the Dagara people of West Africa. It provides invaluable primary material for research, and does a close analysis of folktale narration, proverb usage, riddling, chanting of dirges and popular songs by male and female praise singers, and xylophone music performance as forms of verbal art. Folktales are characterized by wit, humor, and satire, and songs within tales are a mise-en-abyme, a story within a story that entertains but also enhances the narration through the participation of the audience in the performance. Moreover, Dagara tales are didactic and moralizing as a way of controlling the behavior of individuals in society. Riddling entertains but also helps to develop the cognitive abilities of children, and demands critical and logical thinking on the part of the participating audience. Proverbs were collected in context and analyzed closely for their meaning. The study also examines closely the art of speech-making, and concludes that a good locutor knows what figures of speech to use in order to enhance communication with the audience. This study concludes that an authentic theory of Dagara-and for that matter, generally African-folklore must be grounded on a thorough knowledge of the traditions, rites and rituals, and the socio-political structures that have held the society together in its historical experience. Dagara Verbal Art is an important resource for areas such as African studies, African literature and folklore, folklore in general, anthropology, culture studies, ethnomusicology, ethnic studies, and gender studies, among others.

A compelling regional and historical study that transforms our understanding of film history, Amateur Movie Making demonstrates how amateur films and home movies stand as testaments to the creative lives of ordinary people, enriching our experience of art and the everyday. Here we encounter the lyrical and visually expressive qualities of films produced in New England between 1915 and 1960 and held in the collections of Northeast Historic Film, a moving image repository and study center that was established to collect, preserve, and interpret the audiovisual record of northern New England. Contributors from diverse backgrounds examine the visual aesthetics of these films while placing them in their social, political, and historical contexts. Each discussion is enhanced by technical notes and the analyses are also juxtaposed with personal reflections by artists who have close connections to particular amateur filmmakers. These reflections reanimate the original private contexts of the home movies before they were recast as objects of study and artifacts of public history.

Appreciating Dance is a thorough and accurate history of various forms of dance, analyzing everything from social dance, and ballet to modern dance, tap, jazz, theatrical dance and contemporary dance. In it readers will find: a brief biography of notable dancers and choreographers; information needed to expand the enjoyment of performance; the intersection of dance and religion; the history of dance through the beginning of the 21st century; and budding dance trends. Every chapter in this fifth edition has been updated and revised with new information, including suggestions for YouTube viewing at the end of each chapter.

A comprehensive textbook for students and handbook for professionals that covers every aspect of choreographic practice. Choreography is a core unit on every dance BA and BfA degree in the UK and US. This book stands out from the competition by fully integrating theory and practice, as well as being the best available textbook on collaboration within within and outside of the field of dance. The author is the executive director of Dance ICONs Inc, with 15,000 monthly Facebook views and 5000 direct email contacts.

Margaretha van Hulsteyn (also known as Scrappy) is the daughter of respected Pretoria attorney Sir Willem van Hulsteyn, and she's an aspiring actress. While studying in London after the Great War, Scrappy changes her name to Marda Vanne and enters into a relationship with one of the foremost actresses of her day, Gwen Ffrangcon-Davies.

However, on a visit to her parents in the Union of South Africa, Marda meets Hans Strydom, an attorney and uncompromising radical politician with the soubriquet ‘The Lion of the North’. Their meeting changes the course of her life, at least temporarily… Strydom went on to become a principal progenitor of the harshest discriminatory legislation which endured for decades until his nephew, President FW de Klerk, in a volte-face, dismantled the laws of apartheid.

A work of biographical fiction, The Lion & The Thespian is based on the true story of the marriage of Hans Strydom, prime minister of South Africa from 1954 to 1958, to the actress Marda Vanne. Veteran author David Bloomberg (former executive mayor of Cape Town, and founder of Metropolitan Life), following extensive reading and research, has adhered faithfully to the chronology of the lives of the main protagonists, their personalities and the historical facts with which they were associated. Creative license has allowed Bloomberg to recreate appropriate scenes and dialogue, complemented by reported sources and recorded speeches.

The art of Senegalese director Djibril Diop Mambety's cinema lies in the tension created between the visual narrative and the aural narrative. His work has been considered hugely influential, and his films bridge Western practices of filmmaking and oral traditions from West Africa. Mambety's film Touki Bouki is considered one of the foundational works of African cinema. Vlad Dima proposes a new reading of Mambety's entire filmography from the perspective of sound. Following recent analytical patterns in film studies that challenge the primacy of the visual, Dima claims that Mambety uses voices, noise, and silence as narrative tools that generate their own stories and sonic spaces. By turning an ear to cinema, Dima pushes African aesthetics to the foreground of artistic creativity and focuses on the critical importance of sound in world cinema.

Ex-Centric Migrations examines cinematic, literary, and musical representations of migrants and migratory trends in the western Mediterranean. Focusing primarily on clandestine sea-crossings, Hakim Abderrezak shows that despite labor and linguistic ties with the colonizer, migrants from the Maghreb (Morocco, Algeria, and Tunisia) no longer systematically target France as a destination, but instead aspire toward other European countries, notably Spain and Italy. In addition, the author investigates other migratory patterns that entail the repatriation of émigrés. His analysis reveals that the films, novels, and songs of Mediterranean artists run contrary to mass media coverage and conservative political discourse, bringing a nuanced vision and expert analysis to the sensationalism and biased reportage of such events as the Mediterranean maritime tragedies.

New information about the silent film star and Master of Make-up who once prompted the remark, "Don't step on that spider -- it might be Lon Chaney "

This is the first collection of translations of Chinese film theory to be published in English. By using translations rather than summaries, as other works have done, "Chinese Film Theory" provides readers with an introduction to the issues current in China's film circles. It includes eighteen chapters written by a broad range of writers--from well established scholars to young people at the beginning of their involvement in film in China. This collection indicates a trend away from the study of external qualities of film and toward a study of the film itself.

The volume has been carefully organized so that major issues are interrelated; thus, the book comprises an ongoing debate of film theory issues, progressing from earlier to most recent issues, following the debate concerning the relationship of film to literary arts, and looking at the debate over the relationship of film to culture. The book concludes that for the time being, debate has virtually ended because of the political situation in China. This book is an important new source to anyone interested in film studies, film theory, or Chinese studies.

Following Joseph Stalin's death in 1953, the Soviet Union experienced a dramatic resurgence in cinematic production. The period of the Soviet Thaw became known for its relative political and cultural liberalization; its films, formally innovative and socially engaged, were swept to the center of international cinematic discourse. In The Cinema of the Soviet Thaw, Lida Oukaderova provides an in-depth analysis of several Soviet films made between 1958 and 1967 to argue for the centrality of space—as both filmic trope and social concern—to Thaw-era cinema. Opening with a discussion of the USSR's little-examined late-fifties embrace of panoramic cinema, the book pursues close readings of films by Mikhail Kalatozov, Georgii Danelia, Larisa Shepitko and Kira Muratova, among others. It demonstrates that these directors' works were motivated by an urge to interrogate and reanimate spatial experience, and through this project to probe critical issues of ideology, social progress, and subjectivity within post–Stalinist culture.

At a time when state assistance to the arts sector has come under considerable scrutiny both in Europe and the United States, this book comprehensively examines the evolution of, and rationale for, state involvement with the so-called 'high' arts on both continents. This book offers an overview of the key economic issues arising in relation to the state and the arts in these regions, with a detailed analysis of the European and American models of state assistance to the high arts sector.John O'Hagan examines in detail the various channels - regulation, taxation and direct expenditure - through which the state interacts with the arts and compares and contrasts the experiences of America and Europe. Regulatory measures considered include the guarantee of artistic freedom, copyright, resale royalties for artists, and trade restrictions. He also considers taxation measures to support the arts, including deductions for charitable contributions to the arts, property tax exemption, and relief on artists' income. The discussion on direct expenditure covers state ownership of institutions, revenue funding and matching grants as well as new avenues of expenditure such as community arts/arts centres, and new revenue sources for this expenditure, such as lottery funding. Finally the book covers the non-profit making arts sector, and examines why it, and not the commercial sector, receives private and state funding. The State and the Arts will be indispensable for students and academics of public and social policy, cultural economics and public management. It will also be of considerable interest to policymakers and key players in the arts sector.

The third edition of Bill Nichols's best-selling text provides an up-to-date introduction to the most important issues in documentary history and criticism. A new chapter, "I Want to Make a Documentary: Where Do I Start?" guides readers through the steps of planning and preproduction and includes an example of a project proposal for a film that went on to win awards at major festivals. Designed for students in any field that makes use of visual evidence and persuasive strategies, Introduction to Documentary identifies the genre's distinguishing qualities and teaches the viewer how to read documentary film. Each chapter takes up a discrete question, from "How did documentary filmmaking get started?" to "Why are ethical issues central to documentary filmmaking?" Here Nichols has fully rewritten each chapter for greater clarity and ease of use, including revised discussions of earlier films and new commentary on dozens of recent films from The Cove to The Act of Killing and from Gasland to Restrepo.

The way the body is considered and explored in the performing arts has assumed a growing importance, introducing new questions and cross-cutting perspectives on our understanding of the political, sociological and philosophical relevance of the body today. This book is a meeting point for these questions, bringing together a set of contributors experienced in examining the body's presence in live performances. It interweaves several disciplinary outlooks, addressing current theoretical debates on the body relating to the theory of affects, ethics, gender, age, discourse and representation. Looking at recent practice in Portugal, the volume examines several cases where the body and issues of corporeality raise questions of memory, identity, experience and existence. It opens a rare window onto the distinctive Portuguese post-colonial legacy, which has given rise to an intensified search for new forms of bodily affirmation in the world. In so doing, the book conjures up the transformative power of performing arts today: from body into Being.

Fredric March was one of the foremost actors America produced during the 20th century, holding the distinction of winning Best Actor Awards in two films and two Broadway plays. He consciously chose not to shape his career by projecting his own personality, but created a new characterization for each role by becoming the individual he was portraying. Because of this, March is not as well remembered as many of his contemporaries. March was honored 12 years after his death at a tribute in 1987, but by then, many did not even know who he was. In this fascinating biography, Peterson details who March was, and why he was a craftsman first, star second.

Yet, Fredric March is not as well remembered as his contemporaries, such as Bogart and Tracy, screen heroes who shaped their careers by projecting their own personalities. Instead March, endeavored to create a new characterization for each role by concealing his own temperament, becoming the individual he was portraying. From 1939 to 1961 he successfully flourished on the Broadway stage as well as on the Hollywood film lot. After 1961 he gracefully grew old in motion pictures, starring at the age of 75 in the 1973 movie version of O'Neill's "The Iceman Cometh," two years prior to his death. March was honored posthumously at a joint tribute to the actor from the Academy of Motion Picture Arts and Sciences and the American Cinematheque in 1987, 12 years after his death. But, by then, many did not even know who the actor was. In this fascinating biography, Peterson reveals who March was, and why he was a craftsman first, star second. Essential for all researchers interested in film studies and drama.

Want to be the next Andy Serkis as Gollum in Lord of the Rings? Or Zoe Saldana in Avatar? How about Seth MacFarlane in Ted? Or do you want to star in video games such as Fortnite, Call of Duty or Halo? If so, this book will tell you everything you need to know about acting for motion capture. This is the first book to provide an invaluable resource for the education of the next generation of performers in this exciting medium. Over the last 10 years, a revolution has occurred in digital production - video games have overtaken the film and TV industries in terms of production and revenues. Many video games derive their digital animation from human performance by means of motion and performance capture. Actors such as Andy Serkis and Troy Baker have won critical acclaim for their digital performance in games and film. The book includes contributions from practitioners working across the globe, including: actor Kezia Burrows; software developer Stéphane Dalbera; director Kate Saxon; a group of Japanese games directors; Jeremy Meunier, Head of Motion Capture at Moov studios, Montreal; Marc Morisseau, motion editor for Avatar; and a Chinese Motion Capture suit manufacturer.

Examining the role of transnational radio broadcasting in the 20th century, this study compares and contrasts the goals and objectives of six broadcast networks: the BBC, Radio Free Europe, Voice of America, Radio Marti, Radio Free Asia, and Vatican Radio. The work traces the evolution--technical and programmatic--at each institution through world events such as World War II, the Cold War, the Solidarity Movement, the democratization of the Eastern bloc, and Tiananmen Square. Utilizing a series of case studies provided by selected authorities, the study demonstrates the effect of radio upon differing societies. Also, it explores options for alternative programming for each network, emphasizing their relationships to the evolving international political and media community in the late 20th century. The work will be of interest to scholars and students of mass media and international relations.

This innovative volume challenges the ways we look at both cinema and cultural history by shifting the focus from the centrality of the visual and the literary toward the recognition of acoustic culture as formative of the Soviet and post-Soviet experience. Leading experts and emerging scholars from film studies, musicology, music theory, history, and cultural studies examine the importance of sound in Russian, Soviet, and post-Soviet cinema from a wide range of interdisciplinary perspectives. Addressing the little-known theoretical and artistic experimentation with sound in Soviet cinema, changing practices of voice delivery and translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the use of voice, music, and sound on Soviet and post-Soviet screens.

Ten Arab Filmmakers provides an up-to-date overview of the best of Arab cinema, offering studies of leading directors and in-depth analyses of their most important films. The filmmakers profiled here represent principal national cinemas of the Arab world—Algeria, Egypt, Lebanon, Morocco, Palestine, and Syria. Although they have produced many of the region's most-renowned films and gained recognition at major international festivals, with few exceptions these filmmakers have received little critical attention. All ten share a concern with giving image and voice to people struggling against authoritarian regimes, patriarchal traditions, or religious fundamentalism—theirs is a cinéma engagé. The featured directors are Daoud Abd El-Sayed, Merzak Allouache, Nabil Ayouch, Youssef Chahine, Mohamed Chouikh, Michel Khleifi, Nabil Maleh, Yousry Nasrallah, Jocelyne Saab, and Elia Suleiman.

Film and television have been accepted as having a pervasive influence on how people understand the world. An important aspect of this is the relationship of history and film. The different views of the past created by film, television, and video are only now attracting closer attention from historians, cultural critics, and filmmakers. This volume seeks to advance the critical exploration scholars have recently begun. Barta begins by addressing the various ways the past is "screened" for our understanding and relates the art of film to other media. The essays that follow deal primarily with the changing perspectives of political and social developments--and changing concepts of ideology, gender, or culture--in films and television programs made for historically shaped reasons. Chapters by filmmakers explore issues of context and intent in their own projects. Scholars and general readers interested in film and cultural studies will find this an important volume.

Every time you open your mouth on stage you are trying to persuade somebody of something. Sometimes referred to as 'the art of persuasion', rhetoric means using language to communicate your ideas and intentions to other people – and to make sure you are heard, understood and believed. This clear and concise guide explains how it works in plays, and how actors can use it to bring their performances to life on stage. Drawing on her decades of experience working with actors on major productions, including as Head of Voice at the National Theatre, Jeannette Nelson introduces all the major rhetorical techniques and devices that playwrights use. She offers fascinating breakdowns of dialogue and speeches from across the theatrical canon – from Shakespeare and Ibsen, to Tennessee Williams, Lorraine Hansberry and Arthur Miller, right up to contemporary playwrights such as Helen Edmundson and Tanika Gupta. Each chapter also includes a series of practical exercises which combine spoken word with physical action to help you explore and understand these techniques, and harness their power in performance. Whether you're an actor, a director or a drama teacher, Keeping It Active will empower you with a greater understanding of the ways that language underpins all dramatic works, and will give you the tools you need to unlock the text, understand characters, connect with the audience, and perform with greater confidence, focus and authenticity. 'As this excellent book outlines, rhetoric is everywhere. It's not simply in the parliament, the press conference and the court; it's in the workplace, the home and the family. There's no argument, classical or modern, in a play that isn't informed and helped by Jeannette's work' Josie Rourke, from her Foreword 'A great resource for actors and directors' Ralph Fiennes 'Jeannette Nelson's revelatory relationship to language is, quite simply, life-changing' Simon Godwin 'Jeannette taught me so much... I felt like I could persuade anybody to do anything' Sophie Okonedo

Featuring charming illustrations, quality paper, and perforated pages, this adult coloring book has thirty-eight full-page images of Pasadena. Users can add their own artistic details to everything from the iconic city hall and the famous Rose Parade and Rose Bowl to such beloved local landmarks as Vroman's Bookstore, the Del Mar jacarandas, Huntington Library, Old Town, Arlington Garden, the Norton Simon, a bungalow court, Caltech, and the city's best food. As appealing to residents as it is to Rose Parade visitors (the perfect activity while camped out for the parade!), Color Pasadena will inspire Pasadena lovers of all ages.

This “gripping� New York Times bestseller from the host of CNN podcast Behind the Desk tells the true story—and backstage drama—of late-night comedy (Los Angeles Times).   When beloved host Johnny Carson announced his retirement after thirty years on The Tonight Show, millions of Americans mourned. But inside the television industry, the news ignited a battle between two amazing talents—Jay Leno and David Letterman—who both yearned to occupy the departing legend’s chair. For NBC, it would be a decision with millions of dollars at stake. Soon these two comedians with strikingly different styles, who had once shared a friendship as they worked the clubs together, would be engaged in a fierce competition for the prize.   Based on in-depth reporting and interviews with those involved, and updated with a new introduction by the author—a producer of CNN series The Story of Late Night—The Late Shift is a “vivid, behind-the-scenes, blow-by-blow account� of the fight that ensued, as stars, agents, and executives maneuvered for control of the most profitable program in TV history (Chicago Tribune).   “Remarkably gripping . . . Takes us deep into the bizarre high-stakes world of broadcasting . . . A powerful story, and ultimately a sad one, filled with casualties as well as winners.� —The New York Times Book Review   “Solid reporting, based on extensive interviews with the principals, lifts The Late Shift into a class of its own. . . . The insights into the people involved are what make [the book] a page-turner.� —Orange Country Register