How did Brazilian theatre survive under the military dictatorship of 1964-1985? How did it change once the regime was over? This collection of new essays is the first to cover Brazilian theatre during this period. Brazilian scholars and artists discuss the history of a theatre community that not only resisted the regime but reinvented itself and continued to develop more sophisticated forms of expression even in the face of competition from television and other media. The contributors recount the struggle to stage meaningful plays at a time when some artists and intellectuals were exiled, others imprisoned, tortured or killed. With the return of democracy other important issues arose: how to ensure space for different practices and for regional theatre, and how to continue producing international plays that could be meaningful for a Brazilian audience.

Neil Simon is the most successful American playwright on Broadway, and the winner of many awards including the Pulitzer Prize for Drama, the Mark Twain Prize for Humor, and a Kennedy Center Honor for Lifetime Achievement. Many of his plays have been adapted into films and made-for-television movies, and he has written original screenplays and television specials. This book provides a catalogue of Simon's screen work with cast and crew information, synopses, release dates, reviews, awards and DVD availability. Notes on each film cover his narrative subjects and themes as well as adaptation, direction and performance.

This book focuses on Somatic Movement Dance Therapy and the importance of self-regulation and co-regulation.  The chapters attend to self-regulating different tissues through movement, breath, sound and the imagination. Throughout the book the author shares processes and practices that support participants to balance their living tissues, moving from sympathetic arousal into parasympathetic ease and release. The study of the autonomic nervous system and how to innervate the parasympathetic through breath awareness, heart-sensing and intero-ception is the central through-line in the book. Uniquely, Williamson attends to the anatomical and physiological complexity underlying the apparent simplicity of somatic movement dance practice. How to sense-perceive and move with attuned awareness of specific body tissues, such the skeletal-muscular and craniosacral system invites the reader into a deep anatomical and physiological excavation of self-regulation. The interconnectivity of fascia, and the importance of cardio-ception, breath awareness and gravity lie at the heart of this book. Sensory-perceptual awareness of the heart is foregrounded as the most important ingredient in the efficacy of practice, as well as gravi-ception, soft-tissue-rolling and fascial unwinding. Includes a collective foreword from Sarah Whatley, Daniel Deslauriers, Celeste Snowber and Karin Rugman  This is a must-read practice-as-research book, for under- and postgraduate students, researchers and educators and especially important for practitioners who feel the weight and condensation of the mechanistic paradigm.

Named a Best Book of 2022 by The New Yorker, Publishers Weekly, and NPR In this genre-defying “new kind of history� (The New Yorker), the chief film critic of Slate places comedy legend and acclaimed filmmaker Buster Keaton’s unique creative genius in the context of his time. Born the same year as the film industry in 1895, Buster Keaton began his career as the child star of a family slapstick act reputed to be the most violent in vaudeville. Beginning in his early twenties, he enjoyed a decade-long stretch as the director, star, stuntman, editor, and all-around mastermind of some of the greatest silent comedies ever made, including Sherlock Jr., The General, and The Cameraman. Even through his dark middle years as a severely depressed alcoholic finding work on the margins of show business, Keaton’s life had a way of reflecting the changes going on in the world around him. He found success in three different mediums at their creative peak: first vaudeville, then silent film, and finally the experimental early years of television. Over the course of his action-packed seventy years on earth, his life trajectory intersected with those of such influential figures as the escape artist Harry Houdini, the pioneering Black stage comedian Bert Williams, the television legend Lucille Ball, and literary innovators like F. Scott Fitzgerald and Samuel Beckett. In Camera Man, film critic Dana Stevens pulls the lens out from Keaton’s life and work to look at concurrent developments in entertainment, journalism, law, technology, the political and social status of women, and the popular understanding of addiction. With erudition and sparkling humor, Stevens hopscotches among disciplines to bring us up to the present day, when Keaton’s breathtaking (and sometimes life-threatening) stunts remain more popular than ever as they circulate on the internet in the form of viral gifs. Far more than a biography or a work of film history, Camera Man is a wide-ranging meditation on modernity that paints a complex portrait of a one-of-a-kind artist.

Winner of the Theatre Library Association’s 2021 Richard Wall Memorial Award for an exemplary work in the field of recorded performance. Cinema on the Front Line offers the first comprehensive history and analysis of how the medium of cinema intersected with the lives of British soldiers during the First World War. Documenting the wartime use of cinema, from domestic recruitment drives to makeshift theatrical venues established on the front line, and then in convalescent hospitals and camps, this book provides evidence of the previously unacknowledged importance of the medium as recreational support and entertainment for soldiers living through the trauma of conflict. Presenting the fruits of his archival research, the author makes extensive use of war diaries and other military records to foreground the voices and perspectives of British soldiers themselves. Including discussion of over 70 films, this book will interest specialists in British film history, propaganda film, exhibition and audience studies, as well as historians and students of the First World War, propaganda and the military. DOI: https://doi.org/10.47788/LAML7430

Why does the 1974 war in Cyprus remain so dominant in Greek-Cypriot cinema? How has this event shaped the imagination of contemporary filmmakers, and how might one define the new national cinema that has emerged as a result? This book explores such questions by analysing a range of Greek-Cypriot films that have hitherto received little or no critical discussion. The book adopts a predominantly conceptual approach, situating contemporary Greek-Cypriot cinema within a specific cultural and national context. Drawing on the work of the French philosopher Gilles Deleuze, and particularly his theories of time and space, the author explores ways in which Greek-Cypriot directors invent new forms of imagery as a way of dealing with the crisis of history, the burden of memory and the dislocation of the island’s abandoned spaces.

The economic and cultural changes Cuba experienced following the collapse of the Soviet Union compelled Cuban filmmakers to rethink the revolutionary values and esthetics developed after the 1959 revolution. Long-forgotten genres re-emerged, established auteurs incorporated new aesthetic devices into their films and an influx of foreign capital led to the repackaging of revolutionary ideology into more visually attractive narratives. Films such as Alice in Wondertown (1991), Strawberry and Chocolate (1993) and Juan of the Dead (2011) stirred controversy, criticized revolutionary discourse and helped establish new industrial models that allowed post-Castro national cinema to find global audiences on an unprecedented scale. This exploration of transformations in the Cuban film industry offers a detailed analysis of key post-Cold War Cuban films. Recurrent esthetic and sociopolitical tropes are examined to discover how Cuban cinema reflects the turbulent changes the island has experienced.

Bringing together papers presented at the Academic Conference on Canadian Science Fiction and Fantasy from 2005 to 2013, this collection of fresh essays includes two plenary session keynote addresses - by Veronica Hollinger and by Robert Runte - and 15 papers on science fiction and fantasy literature, television and music by Canadian creators. Authors discussed include Charles de Lint, Nalo Hopkinson, Tanya Huff, Esther Rochon, Peter Watts and Robert Charles Wilson. Papers on the television show Supernatural and the Scott Pilgrim comics series are also included.

This stunning coffee table book focuses on the storyboards for nine of Alfred Hitchcock’s classic movies – Vertigo, The Birds, Psycho, North by Northwest, The 39 Steps, Torn Curtain, Marnie, Shadow of a Doubt and Spellbound. It includes never before-published images and incisive text putting the material in context and examining the role the pieces played in some of the most unforgettable scenes in cinema. Hitchcock author and aficionado Tony Lee Moral takes you through the last 100 years of cinema, with the Master of Suspense as your guide.

These new essays examine the many ways that issues of gender and sexuality intersect with other identities and practices - including race, religion, disability, music and education - on the Fox hit program Glee. With gender and sexuality concerns at the crux, the authors tackle such specific aspects of the show as the coming out narrative, Glee fandom and fan fiction, representation of sex education, and the intersection of Broadway music and queerness. The aim of these essays is to open up a dialogue about Glee - which is often dismissed by critics and fans alike - and to reveal how scholars are critically engaging with the show around issues of gender and sexuality.

Drawing on the works of Shakespeare and American screenwriter Joss Whedon, this study in narrative ethics contends that Whedon is the Shakespeare of our time. The Bard wrote before the influence of the modern moral philosophers, while Whedon is writing in the postmodern period. It is argued that Whedon's work is more in harmony with the early modern values of Shakespeare than with modern ethics, which trace their origin to 17th and 18th-century moral philosophy. This study includes a detailed discussion of representative works of Shakespeare and Whedon, showing how they can and should be read as forms of narrative ethics.

Fifteen philosophers representuing different schools of thought answer the question what is Woody Allen trying to say in his films? And why should anyone care? Focusing on different works and varied aspects of Allen's multifaceted output, these essays explore the philosophical undertones of Anne Hall, Crimes and Misdemeanors, Manhattan, A Midsummer Night's Sex Comedy and reminds us that just because the universe is meaningless and life is pointless is no reason to commit suicide.

Vince Gilligan's Breaking Bad has emerged as a defining example of the recent renaissance in television-making. The sheer breadth and visionary scope of the series demand that it receive extensive critical engagement. The contributors collected here, from chemists and midwives to philosophers and novelists, examine a variety of themes in Breaking Bad. Walter White is discussed as father, as psychopath, as a scientist, and as an example of masculinity. The writers look at the series in terms of gender, neo-liberal politics, and health care reform as well as the more traditional aesthetic categories of narrative construction, experimentation, allusion, and genre. With television emerging as the dominant artistic genre of the early 21st century America, Breaking Bad should not simply be seen as a wildly popular phenomenon, but also as a superbly designed artwork that reflects widespread cultural concerns and crises. The series' complexity warrants the rigorous analysis that it here receives.

It's a collection of profiles, most of which are being published for the first time, of the process that today's top horror actors underwent before and during shooting to transform themselves into the people we saw on screen, from both the perspective of the frightening (i.e., the villains) and the frightened (i.e., the prey). It's about what they did to take a new step as members of one of the film world's oldest and most popular genres. The horror world is often full of impossibility - although many consider the realistic to be the most frightening of all - and taking on such a role requires a different sort of preparation than drama, romance, or others that could occur. The cornerstone of this book is preparation: what went into becoming these characters, so often trapped in impossible or at least unthinkable worlds, on the individuals' own, long before the cameras began to role? That's a question that hasn't been asked enough in writing, but it gets answered many different ways here, and often for the first time ever, even from those experienced with acting itself.

Upon its original publication in 1962, Edward Wagenknecht's The Movies in the Age of Innocence immediately earned recognition as a classic in the history of early cinema. A tribute to American silent film from the first-person perspective of one who grew up with the medium, the volume surveys the pre-feature and feature era of silent films from a distinctly literary standpoint and considers the careers of directors like D. W. Griffith and Erich von Stroheim, and actors such as Charlie Chaplin, Mary Pickford and Lillian Gish. With nearly 90 illustrations from early films, fan magazines and brochures, indices of film titles and credits, and an appendix containing Wagenknecht's otherwise unavailable 1927 pamphlet Lillian Gish: An Interpretation, this third edition retains its significance today.

The definitive monograph on the work of sculptor, installation artist, and Arte Povera pioneer Luciano Fabro Luciano Fabro was a founding member, and later leading critic, of Arte Povera, the materials- and experience-based art movement that began in Italy in the late 1960s. He went on to be exhibited internationally, becoming the first artist from the group to receive a major US retrospective, at the San Francisco Museum of Modern Art in 1992. Fabro was a controversial artist, yet still a critical favorite: in 2018 the leading art publication The Brooklyn Rail dedicated an entire issue to Fabro; and New York Times critic Roberta Smith wrote that Fabro treated ‘artmaking less as a profession and more as a continuing experiment intended to keep himself entertained and the viewer slightly off-balance’. This comprehensive, heavily illustrated monograph is the first complete overview of Fabro’s life and career, written by esteemed critic and curator Margit Rowell, who interacted with Fabro repeatedly in his later years, and is published with the full support and participation of the artist’s estate and international galleries, Paula Cooper (New York), Christian Stein (Milan) and Simon Lee (London and Hong Kong).

This book fills a very basic and useful function in its bibliographic essays surveying the literature. . . . A comprehensive guide for lovers and students of animation. Recommended for most reference collections. Library Journal.

When disaster strikes, survivors suddenly find themselves in a world that has become confusing and unfamiliar. Such traumatic events impose severe psychological strain on every member of a community, but children are a particularly vulnerable group requiring special attention. Children and Disasters addresses the needs of this specific population by examining the impact of major disasters on the mental health and emotional functioning of children. The programs described in this book are designed to provide early intervention to children and families undergoing stress reactions to a catastrophic event. The authors offer interventions aimed at enhancing the skills of mental health professionals, educators, and peer counselors in responding to the intensified demands of disasters. These intervention approaches provide information regarding the event itself, reinforce the legitimacy of the anxieties and fears that children and their families are experiencing, and encourage the expression of feelings in group and individual settings (for the younger child, through drawing and play). Furthermore, they build on the coping capacity of individuals and theirs families and provide concrete coping skills and techniques to alleviate stress reactions. The intervention model can be applied to programs for individual children and their families, multi-family groups, and groups for children in mental health, educational, and community settings. The practical "hands-on" approach to program design makes this book an attractive resource for mental health professionals, social workers, rehabilitation specialists, professional and volunteer counselors, and suicide intervention workers. It will also be useful for school personnel, including teachers, school counselors, and administrators, as well as federal and state emergency planners and coordinators.

As the popularity of film grew and audiences demanded longer stories, Hollywood began borrowing plots as well as actors and directors from Broadway - some of these play-to-films were triumphs and others were inexplicable duds. This reference work is an annotated guide to American stage productions remade for film and television, with works ranging from late 19th-century American plays and musicals, through silent and sound films, to made-for-video productions by PBS, A&E, HBO, and others. Each alphabetically listed entry provides complete credits for the play or musical: date, theatre, playwright, cast (with characters) and crew, length of run, along with choreographer, song titles, and authors of the score where available. The screen versions follow, listing alternate titles, date, studio, screenwriter, cast (with characters), director, and producer. Each entry concludes with detailed commentary on the productions; it describes what changes occurred between the formats, determines the strengths and weaknesses of each, judges the success of the transition, and describes how the end product was received. A bibliography and name and title indexes complete this cross-referenced work.

With diverse contributions from scholars in English literature, psychology, and film and television studies, this collection of essays contextualizes Fringe as a postmodern investigation into what makes us human, and as an examination of how technology invariably transforms our humanity. The essays provide a provocative meditation on how a stellar example of science fiction television comments on the state of personal identity in a 21st century society dependent on technology that both enlivens and threatens the individual. In compiling this collection, the editors sought material as multifaceted as the series itself, devoting sections to specific areas of interest explored by both the writers of Fringe and the writers of the essays: humanity, duality, genre, and viewership. Taken together, the section headings serve as a map to the many thematic readings the editors and contributors apply to Fringe.

If the made-for-television movie has long been regarded as a poor stepchild of the film industry, then telefilm horror has been the most uncelebrated offspring of all. Considered unworthy of critical attention, scary movies made for television have received little notice over the years. Yet millions of fans grew up watching them--especially during the 1970s--and remember them fondly. This exhaustive survey addresses the lack of critical attention by evaluating such films on their own merits. Covering nearly 150 made-for-TV fright movies from the 1970s, the book includes credits, a plot synopsis, and critical commentary for each. From the well-remembered Don't Be Afraid of the Dark to the better-forgotten Look What's Happened to Rosemary's Baby, it's a trustworthy and entertaining guide to the golden age of the televised horror movie.

The Thatcher administration of 1979 to 1990 had a profound and apparently lasting effect on British theatre and drama. It is now roughly a decade since the fall of Margaret Thatcher and, with the benefit of hindsight, it has become possible to disentangle fact from fantasy concerning her effect on the British theatre. During her administration, there was a significant cultural shift which affected drama in Britain. While some critics have argued that the theatre was simply affected by financial cutbacks in arts subsidies, this volume challenges that view. While it looks at the economic influence of Thatcher's policies, it also examines how her ideology shaped theatrical and dramatic discourse. It begins by defining Thatcherism and illustrating its cultural influence. It then examines the consequences of Thatcherite policies through the agency of the Arts Council of Great Britain.

Having established this political and cultural environment, the book considers in detail the effect of Thatcher's administration on the subject-matter and dramatic and theatrical discourse of left-wing drama and on the subsidized political theatre companies which proliferated during the 1970s. Attention is then given to the development of constituency theatres, such as Women's and Black Theatre, which assumed an oppositional cultural stance and, in some cases, attempted to develop characteristic theatrical and dramatic discourses. The penultimate chapter deals with the effect of Thatcherite economic policy and ideology on new writing and performance, while the final chapter draws conclusions and suggests that the cultural shift perpetrated by the Thatcher regime has altered the status of subsidized theatre from an agency of cultural, spiritual, social, or psychological welfare to an entertainment industry which is viewed as largely irrelevant to the workings of society.

This book is an informal attempt at defining the genre of medieval film by describing its features and analysing its effects and their significance, there being few works presently available that work toward such definition. There are three parts: the introduction enters the medieval film world, describing its typical features and showing how they create a convincing sense of its time; three short chapters discuss authenticity, simplicity and spectacle-the roots of film medievalism; and six longer chapters comment on individual films. Works are discussed that extend the reach of the genre, such as Dreyer's La Passion de Jeanne D'Arc with its emotional range, or Bergman's Seventh Seal, which creates a universal symbolism. In short, the author describes what goes into a medieval film and how it affects its audience, while offering suggestions about why its themes are meaningful to us.

Fifteen chapters explaining every aspect, with excerpts from classic and prominent modern works, quotations from noted playwrights, and anecdotes from the author's personal experiences with such as Tennessee Williams and Arthur Miller. Interviews with A.R. Gurney, Lloyd Richards, Connie Congdon, Alfred Uhry, and others are included. An appendix gives information about submitting playscripts, getting grants, entering contests, doing play festivals, securing an agent and so on.

Ria Mooney was a pioneer in the theatre, the first woman to serve as the resident producer of the National Theatre of Ireland (popularly referred to as The Abbey) between 1948 and 1963. She distinguished herself as an actress and director of some of the most important playwrights and performers of her time, and received excellent reviews for her work. But after leaving the Abbey, she has, for the most part, been overlooked in theatrical histories. In this work, Ria Mooney receives the notice she deserves as one of Ireland's most significant theatrical artists of the twentieth century. Her entire theatrical career is covered and special attention is paid to her work as an actress and resident producer at the Abbey. The author explains how Mooney assembled and nurtured her acting company and worked with the playwrights whose plays she mounted at the Abbey and the Queen's playhouses. A picture is created of the swiftly changing theatrical, cultural, political, and social climate of Dublin during her tenure at the Abbey. Her importance to Irish theatre is summarised, and her career is evaluated in light of reviews of her work and the work of those she directed.