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Books > Arts & Architecture > Performing arts > General
In a passionate personal/political statement, Australia's most celebrated festival director and cabaret artist accuses Australia and its political leaders of selling out its arts to populism and 'the myth of the mainstream'. While at home Australians are tolerant, imaginative and flexible, the mainstream no longer allows for difference of opinion in public.
This book deploys the concept of 'audiovisual tourism promotion' to account for the promotional functions performed by a vast array of diverse media texts including tourism films, feature films, digital videos conceived for online circulation, video games and TV commercials. From this point of view, this volume fills a major gap in the literature by providing the first comprehensive critical overview of audiovisual tourism promotion as a distinct media field. In this book, the study of audiovisual tourism promotion is characterised by an interdisciplinary approach which combines film studies, media studies, human geography, sociology, tourism studies, history, postcolonial and gender studies. This book will appeal to a wide range of students and scholars from different disciplines.
An extended study of the writings of Lil' Kim, the multi-platinum selling Hip Hop artist. Examines Lil' Kim's anti-sexist, gender-defiant and ultra-erotic verse alongside issues of race and the politics of imprisonment. This is the first study to apply the tools of literary criticism to Hip Hop's lyrical writings.
Internet and communication technologies offer dance and theatre new
platforms for creating and performing work, with opportunities for
remote interaction and collaboration on a scale never before
imaginable. This book explores methods by which such technologies
can facilitate creative collaborations between performers and
viewers. It draws upon the work of arts, communications and
technology theorists and practitioners, and makes special reference
to the author's series of Internet-based choreography projects with
online communities from Europe, America and elsewhere around the
globe. The book demonstrates how sharing creative processes between
online communities has the potential to enrich the artistic palette
and provide an arts-based learning experience for participants. The
Cartesian duality of the mind-body split apparently inherent in
remote communications is challenged by the physicality of dancing
and choreographing together online. The discussion is focused
primarily upon dance, but the underlying approach is founded upon
devising processes formulated and formalized in theatre-based
contexts. Participants collaborated as "armchair" choreographers
and
This book offers the first comprehensive analysis of the role of cinema in the communication strategy of the Italian Communist party (the PCI). It examines the entire period during which the party had a systematic and organized approach to cinematographic production, starting with the early experiments in 1946 and concluding with the closure of PCI film company Unitelefilm at the end of the 1970s. Its analysis sheds light on a range of issues, such as the relationship between the party and Italian intellectuals, the Stalinist imprint of the Italian Communist Party and the historical significance of the Salerno turn, the PCI's relationship with the student movements in 1968 and 1977, and the PCI's response to the rise in political violence in the 1970s. Ultimately, the book demonstrates that cinema was essential to the PCI's propaganda effort.
This pioneering study examines the extraordinary proliferation of
polyphonic or "multi-voiced" texts in the three centuries following
the first contact between Europeans and indigenous peoples of the
Americas. These plays, printed dialogues, travel narratives, and
lexicographic studies, in English, Spanish and French, reverberate
with a cacophony of voices as both European and indigenous writers
of the early Americas stage the interaction of their cultures.
African children develop aesthetic sensibilities at an early age, roughly from four to fourteen years. By the time they become full-fledged adolescents they may have had up to ten years experience with various art forms--masking, music, costuming, dancing, and performance. Aesthetic learning is vital to their maturation. The contributors to this volume argue that the idea that learning the aesthetics of a culture only occurs after maturity is false, as is the idea that children wearing masks is only play, and is not to be taken seriously. "Playful Performers" is a study of children's masquerades in Africa. The contributors describe specific cases of young children's masking in the areas of west, central, and southern Africa, which also happen to be the major areas of adult masquerading. The volume reveals the considerable creativity and ingenuity that children exhibit in preparing costumes, masks and musical instruments, and in playing music, dancing, singing, and acting. The book includes over 50 pages of black and white photographs, which illustrate and elaborate upon the authors' main points. The editors describe general categories of children's masquerades. In each of the three masking categories children's relationships to their parents and other adults differ, from a close relationship to some independence to almost complete independence. No other major work has covered this aspect of African children at this age level. The book offers a challenging perspective on young children, seeing them as active agents in their own culture rather than passive recipients of culture as taught by parents and other elders. It will be interesting reading for anthropologists, art historians, educators, and African studies specialists alike. Simon Ottenberg is emeritus professor, Department of Anthropology, University of Washington. David A. Binkley is Senior Curator for Research and Interpretation, National Museum of African Art, Smithsonian Institution, Washington, DC.
Plastics have now been our most used materials for over fifty years. This book adopts a new approach, exploring plastics' contribution from two perspectives: as a medium for making and their value in societal use. The first approach examines the multivalent nature of plastics materiality and their impact on creativity through the work of artists, designers and manufacturers. The second perspective explores attitudes to plastics and the different value systems applied to them through current research undertaken by design, materials and socio-cultural historians. The book addresses the environmental impact of plastics and elucidates the ways in which they can and must be part of the solution. The individual viewpoints are provocative and controversial but together they present a balanced and scholarly un-picking of the debate that surrounds this ubiquitous group of materials. The book is essential reading for a wide academic readership interested in the Arts and Humanities, especially Design and Design History; Anthropology; and Cultural, Material and Social Histories.
Cultural Memory in Seamus Heaney's Late Work considers the ways that memory functions in Heaney's poetry. Joanne Piavanini argues that the shaping of collective memory is one of Heaney's major contributions as a poet. Locating Heaney in a transnational literary sphere, this book argues that his late work isdefined by a type of cosmopolitanism openness: the work moves beyond national identity to explore multiple allegiances and identifications. Moreover, Piavanini demonstrates that memory is a helpful lens to look at Heaney's late work, in particular, because of the interplay of past, present and future in these works: in the construction of a collective memory of the Troubles; in the use of the elegy to commemorate the passing of important contemporary poets; in his writing on events with transnational significance, such as 9/11; in the slippages between past and present in poems about his family; and through the literary afterlives of texts-specifically, his appropriation of canonical classical texts. Drawing on approaches and concepts from memory studies, Piavanini considers Heaney's late work to develop an analysis of poetry as a vehicle of memory.
Performing Disability in Early Modern English Drama investigates the cultural work done by early modern theatrical performances of disability. Proffering an expansive view of early modern disability in performance, the contributors suggest methodologies for finding and interpreting it in unexpected contexts. The volume also includes essays on disabled actors whose performances are changing the meanings of disability in Shakespeare for present-day audiences. By combining these two areas of scholarship, this text makes a unique intervention in early modern studies and disability studies alike. Ultimately, the volume generates a conversation that locates and theorizes the staging of particular disabilities within their historical and literary contexts while considering continuity and change in the performance of disability between the early modern period and our own.
This book is based on a two-day symposium at the Paris Institute of Advanced Study titled "space-time geometries and movement in the brain and the arts". It includes over 20 chapters written by the leading scientists and artists who presented their related research studies at the symposium and includes six sections; the first three focus on space-time geometries in perception, action and memory while the last three focus on specific artistic domains: drawing and painting, dance, music, digital arts and robotics. The book is accompanied by a dedicated webpage including related images and videos. There is an ever-growing interest in the topics covered by this book. Space and time are of fundamental importance for our understanding of human perception, action, memory and cognition, and are entities which are equally important in physics, biology, neuroscience and psychology. Highly prominent scientists and mathematicians have expressed their belief that our bodies and minds shape the ways we perceive space and time and the physical laws we formulate. Understanding how the brain perceives motion and generates -bodily movements is of great significance. There is also growing interest in studying how space, time and movement subserve artistic creations in different artistic modalities (e.g., fine arts, digital and performing arts and music). This interest is inspired by the idea that artists make intuitive use of the principles and simplifying strategies used by the brain in movement generation and perception. Building upon new understanding of the spatio-temporal geometries subserving movement generation and perception by the brain we can start exploring how artists make use of such neuro --geometrical and neuro-dynamic representations in order to express artistic concepts and emotionally affect the human observers and listeners. Scientists have also started formulating new ideas of how aesthetic judgements emerge from the principles and brain mechanisms subserving motor control and motion perception. Covering novel and multidisciplinary topics, this advanced book will be of interest to neuroscientists, behavioral scientists, artificial intelligence and robotics experts, students and artists.
This book offers the first international look at how script development is theorised and practiced. Drawing on interviews, case studies, discourse analysis, creative practices and industry experiences, it brings together scholars and practitioners from around the world to offer critical insights into this core, but often hidden, aspect of screenwriting and screen production. Chapters speculate and reflect upon how creative, commercial and social practices - in which ideas, emotions, people and personalities combine, cohere and clash - are shaped by the practicalities, policies and rapid movements of the screen industry. Comprising two parts, the book first looks 'into' script development from a theoretical perspective, and second looks 'out from' the practice to form practitioner-led perspectives of script development. With a rising interest in screenwriting and production studies, and an increased appetite for practice-based research, the book offers a timely mapping of the terrain of script development, providing rich foundations for both study and practice.
A collection of musical transcriptions, song lyrics, memoir, stories, and lore from a matrilineal line of famed Traveller balladeers, musicians, and storytellers Elizabeth Stewart is a highly acclaimed singer, pianist, and accordionist whose reputation has spread widely not only as an outstanding musician but as the principal inheritor and advocate of her family and their music. First discovered by folklorists in the 1950s, the Stewarts of Fetterangus, including Elizabeth's mother Jean, her uncle Ned, and her aunt Lucy, have had immense musical influence. Lucy in particular became a celebrated ballad singer and in 1961 Smithsonian Folkways released a collection of her classic ballad recordings that brought the family's music and name to an international audience. Up Yon Wide and Lonely Glen is a significant memoir of Scottish Traveller life, containing stories, music, and songs from this prominent Traveller family. The book is the result of a close partnership between Elizabeth Stewart and Scottish folk singer and writer Alison McMorland. The narrative, spanning five generations of women and written in Scots, captures the rhythms and idioms of Elizabeth Stewart's speaking voice and is extraordinary from a musical, cultural, sociological, and historical point of view. The book features 145 musical transcriptions and song lyrics, including eight original piano compositions, folktale versions, rhymes and riddles, and eighty fascinating illustrations of the Stewart family. Elizabeth Stewart, Mintlaw, Scotland, is an outstanding practitioner of the traditional arts. An internationally recognized singer, storyteller, composer, and song writer of remarkable ability, she has performed all over the UK and made several tours of America. She and her family have been visited by musicians, singers, folklorists, and journalists for over fifty years. Alison McMorland, Dunblane, Scotland, is a traditional singer, collector, broadcaster, teacher, and writer, who over forty years has forwarded the cause of traditional music in her numerous recordings, publications, and classes throughout the UK, Europe and the USA. Her most recent publication is Herd Laddie o the Glen: Songs and Life of the Border Shepherd, Willie Scott.
This is the first English-language book to provide a critical panorama of the last twenty years of Peruvian cinema. Through analysis of the nation's diverse modes of filmmaking, it offers an insight into how global debates around cinema are played out on and off screen in a distinctive national context. The insertion of post-conflict Peru within neoliberalism resulted in widespread commodification of all areas of life, significantly impacting cinema culture. Consequently, the principal structural concept of this collection is the interplay between film production and market forces, an interaction which makes dynamism and instability the defining features of 21st-century Peruvian cinema.
Can the documentary be useful? Can a film change how its viewers think about the world and their potential role in it? In Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. She critiques documentary films from Nanook of the North to the recent Ken Burns/Lynn Novick series The Vietnam War. Tethered to what Godmilow calls the "pedigree of the real" and the "pornography of the real," they fail to activate their viewers' engagement with historical or present-day problems. Whether depicting the hardships of poverty or the horrors of war, conventional documentaries produce an "us-watching-them" mode that ultimately reinforces self-satisfaction and self-absorption. In place of the conventional documentary, Godmilow advocates for a "postrealist" cinema. Instead of offering the faux empathy and sentimental spectacle of mainstream documentaries, postrealist nonfiction films are acts of resistance. They are experimental, interventionist, performative, and transformative. Godmilow demonstrates how a film can produce meaningful, useful experience by forcefully challenging ways of knowing and how viewers come to understand the world. She considers her own career as a filmmaker as well as the formal and political strategies of artists such as Luis Bunuel, Georges Franju, Harun Farocki, Trinh T. Minh-ha, Rithy Panh, and other directors. Both manifesto and guidebook, Kill the Documentary proposes provocative new ways of making and watching films.
This book dives into the mise-en-scene of contemporary China to explore the "becoming cinema" of Chinese cities, societies, and subjectivities. Set in the wake of China's radical and rapid period of urbanization and infrastructural transformation, and situating itself in the processual city of Ningbo, the book combines empirical, ficto-critical, and philosophical methods to generate a dynamic account of everyday life as new forms of consumer culture bed in. Harnessing a Realist approach that allows for different scales of analysis, the book zooms in on five architectural assemblages including: surreal real estate showrooms; a fragmented history museum; China's "first and best" Sino-foreign university; a new "Old town"; and weird gamified "any-now(here)-spaces." Together these modern arrangements and machines for living cast light upon the broader picture sweeping up greater China.
"The World needs Chad Prather more than ever. He's a throwback to a saner and more fun-loving America. His rants are OUR rants." - Charlie Kirk Chad Prather - "a modern-day Will Rogers" - is just your friendly neighborhood cowboy philosopher, gazing into the sweet tea leaves at the bottom of his cowboy hat, pondering a most fundamental question: "Am I crazy? Or is the world crazy...?" Chad finds life amusing, baffling, sometimes heartwarming, and downright interesting, and wants to share personal stories and witty observations on the hasty growth of insanity within the folds of society, and inspire critical thinking about the state of our modern culture. In this series of humorous essays - reminiscent of the rants he is famous for doing from his truck in Texas - Chad takes on all the problems he has with the modern age, and also talks about some of the problems that we have with each other. Problems with kids, problems with spouses, problems with our bosses at work, and of course problems with all those other jackwagons we work with. What are some of the basic things you need to know if you're going to survive marriage and parenthood? Whatever happened to decency, hard work, and a sharing of the basic values that made us great in the first place? When did it become unfashionable to believe in God, to go to church on Sunday, or to send our "thoughts and prayers" toward those having a difficult time? When did it become child abuse to spank your kids, instead of child abuse to avoid it? Why do we have such visceral reactions to politics when - by and large - we know so little about how it actually works? When is social media going to finally stop messing around and just bring the full-on possession? And why is it that, as we march further and further along the road of progress - growing our collective knowledge and technological means of dealing with life along the way - we seem to be regressing socially at an equally break-neck pace? AM I CRAZY?: An Unapologetic Patriot Takes on the Insanity of Today's Woke World explores human misbehavior and stupidity in all its naked splendor with laugh-out-loud humor. JOIN THE CHAD PRATHER POSSE!
This collection of essays reveals the extent to which politics is fundamental to our understanding of Samuel Beckett's life and writing. Bringing together internationally established and emerging scholars, Beckett and Politics considers Beckett's work as it relates to three broad areas of political discourse: language politics, biopolitics and geopolitics. Through a range of critical approaches, including performance studies, political theory, gender theory, historicizing approaches and language theory, the book demonstrates how politics is more than just another thematic lens: it is fundamentally and structurally intrinsic to Beckett's life, his texts and subsequent interpretations of them. This important collection of essays demonstrates that Beckett's work is not only ripe for political engagement, but also contains significant opportunities for understanding and illuminating the broader relationships between literature, culture and politics.
This edited collection brings together new research by world-leading historians and anthropologists to examine the interaction between images of plague in different temporal and spatial contexts, and the imagination of the disease from the Middle Ages to today. The chapters in this book illuminate to what extent the image of plague has not simply reflected, but also impacted the way in which the disease is experienced in different historical periods. The book asks what is the contribution of the entanglement between epidemic image and imagination to the persistence of plague as a category of human suffering across so many centuries, in spite of profound shifts in our medical understanding of the disease. What is it that makes plague such a visually charismatic subject? And why is the medical, religious and lay imagination of plague so consistently determined by the visual register? In answering these questions, this volume takes the study of plague images beyond its usual, art-historical framework, so as to examine them and their relation to the imagination of plague from medical, historical, visual anthropological, and postcolonial perspectives.
This book aims to establish the position of the sidekick character in the crime and detective fiction literary genres. It re-evaluates the traditional view that the sidekick character in these genres is often overlooked as having a small, generic or singular role-either to act as the foil to the detective in order to accentuate their own abilities at solving crimes, or else to simply tell the story to the reader. Instead, essays in the collection explore the representations and functions of the detective's sidekick across a range of forms and subgenres of crime fiction. By incorporating forms such as children's detective fiction, comics and graphic novels and film and television alongside the more traditional fare of novels and short stories, this book aims to break down the boundaries that sometimes exist between these forms, using the sidekick as a defining thread to link them together into a wider conceptual argument that covers a broad range of crime narratives.
Communication Research on Expressive Arts and Narrative as Forms of Healing: More than Words examines a number of widely used expressive arts therapies from a communication perspective, providing case studies and other qualitative investigations focused specifically on communication aspects of expressive therapies including drama, music, and dance/movement therapies. This collection, edited by Kamran Afary and Alice Marianne Fritz and authored by contributors with experience as educators, artists, and licensed therapists, integrates communication, therapy, and pedagogy to explore the role and efficacy of expressive arts therapies. Scholars of communication, performing arts, and mental health will find this book particularly useful, along with mental health practitioners and scholars conducting fieldwork.
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