Truly the voice of a generation, George Carlin gave the world some of the most hysterical and iconic comedy routines of the last fifty years. From the "Seven Dirty Words" to "A Place for My Stuff," he perfected the art of making audiences double over with laughter and wake up to the realities (and insanity) of life in the twentieth century. Few people glimpsed the inner life of this beloved comedian, but his only child, Kelly, was there for it all. Born at the beginning of his decades long career in comedy, she witnessed his transformation in the 705, as he talked back to the establishment. While Kelly watched her father constantly reinvent himself and his comedy, she also had a front row seat to the roller coaster turmoil of her family's inner life; she even talked George down from a really bad acid trip a time or two. But having been the only "adult" in her family prepared her little for the task of her own adulthood. All the while, Kelly sought to define her own voice as she separated from the shadow of her father's genius. With rich humour and deep insight, Kelly Carlin pulls back the curtain on what it was like to grow up as the daughter of one of the most recognisable comedians of our time, and become a woman in her own right. This vivid, hilarious, heart-breaking story is at once singular and universal - it is a contemplation of what it takes to move beyond the legacy of childhood and forge a life of your own.

The considerable number of musicians experiencing physical and emotional problems has led doctors around the world to become increasingly concerned. The twelve articles in this issue of the journal "Musical Performance" bring together both the thoughts of British and North American doctors who discuss the main problems experienced by musicians and their cures. Topics range from voice disorders and deafness, to stress and the causes and cures of stage fright. A glossary is included that explains the meaning of those medical terms likely to be unfamiliar to the general reader.
Basil Tschaikov was appointed artistic and executive director of the National Center for Orchestral Studies at London University at Goldsmith's College, London, England 1979. Since 1987 he has served as chairman of the Music Performance Research Center and directs its oral history of musicians program in Britain.

Every year on September first, young witches and wizards board the Hogwarts Express at Platform 9 3/4 and make the journey to Hogwarts School of Witchcraft and Wizardry. The first in a collectible new series, Harry Potter: Travel Magic: Platform 9 3/4: Artifacts from the Wizarding World contains over a dozen removable prop replicas from the Harry Potter films as well as stickers, postcards, and other stationery supplies. Inside, fans will learn all about Platform 9 3/4 and the Hogwarts Express, relive magical moments from the Harry Potter films, and delve into the behind-the-scenes magic that brought Harry Potter to life on the big screen. Inside readers will find: * Over a dozen removable reproductions of props from the Harry Potter films, including Harry's Hogwarts Acceptance letter and supply list, Platform 9 3/4 ticket, Chocolate Frog box, and more * Stickers, bookmarks, postcards, booklets, and other stationery supplies-all themed to Platform 9 3/4 and the Hogwarts Express * Behind-the-scenes facts and insights about the Harry Potter films * Stunning set photography and concept art

Friedrich Schiller is justly celebrated for his dramas and poetry. Yet, above all, he was a polymath, whose writings enriched a range of fields including history and philosophy. Until now, no comprehensive accounting of this philosophy has been undertaken. The Palgrave Handbook on the Philosophy of Friedrich Schiller makes good this desideratum, treating Schiller's poetry, prose, and dramatic work alongside his philosophical writings and reviewing his thought not only in connection with those who influenced him, such as Kant, Reinhold, and Fichte, but also those he anticipated, such as Hegel, Marx, and the Neo-Kantians. Topics treated in this volume include Schiller's philosophical background, his theoretical writings, Schiller's philosophical writing in light of his entire oeuvre, and Schiller's philosophical legacy. The Handbook also includes an overview of the main topics Schiller addressed in his philosophical writings including philosophical anthropology, aesthetics, moral philosophy, politics and political theory, the philosophy of history, and the philosophy of education. Bringing together the latest research on Schiller and his thought by leading scholars in the field, the Handbook draws attention to Schiller's undiminished importance for philosophical debates today.

A potted history of Dyllis (Dyliss?), featuring most of their scripts, some of their wit and none of their dignity!

This book focuses on the characters that populate the Game of Thrones universe and on one of the most salient features of their interaction: violence and warfare. It analyses these questions from a multidisciplinary perspective that is chiefly based on Classical Studies. The book is divided into two sections. The first section explores Martin's characters as the mainstay of both the novels and the TV series, since the author has peopled his universe with three-dimensional intriguing characters that resonate with the reader/audience. The second section is devoted to violence and warfare, both pervasive in the Game of Thrones universe. In particular, the TV series' depiction of violence is explicit, going beyond the limits that have seldom been traversed in primetime television i.e. the execution of Ned Stark, the "Red Wedding" and "Battle of the Bastards". In the Game of Thrones universe, violence is not only restricted to warfare but is an everyday occurrence, a result of the social and gender inequalities characterising the world created by Martin.

This set collects together for the first time rare and scattered material on the history of pre-cinema. It includes articles on stereoscopic photography; the use of kaleidoscopes; optical illusions; theatre design; magic lanterns and mirrors; shadow theatre, and much more. The articles are taken from sources such as The Magazine of Science, The Art Journal, The British Journal of Photography, Scientific American, American Journal of Science and Arts, and The Mirror.

Representing the first attempt to compile a complete catalog of the entertainers who appeared on film in Great Britain from the invention of the cinema in the mid-1890s to the present, this innovative book covers more than 2,000 entertainers. Each entry gives the entertainer's specialty, a chronological listing of his/her films, and the titles of the songs sung, played, or danced to. Uniquely, the catalog lists appearances in shorts and especially series of shorts, such as "Ace Cinemagazine, Eve's Film RevieW," and "Pathe Pictorial," as well as other prewar series of cinemags. Newsreel performances are also included.

Attempting to compile the first complete catalog of the entertainers who appeared on film in Great Britain from the invention of cinema in the mid-1890s to the present, this innovative reference book covers more than 2,000 entertainers including: comedians, singers, musicians, impressionists, dancers and dance bands, contortionists, acrobats, pop groups and pop stars, and more. Listed here are the complete filmographies for bygone entertainers such as Max Miller, and Tommy Trinder; music-hall artists, including Marie Lloyd and Harry Champion; radio stars such as Richard Murdoch and Norman Long; crooners from Al Bowlly to Donald Peers; and a supporting cast of many more.

Each entry gives the entertainer's speciality, a chronological listing of his/her films, and the titles of the songs sung, played, or danced to. Uniquely, the catalog lists appearances in shorts, especially series of shorts, such as "Ace Cinemagazine, Eve's Film RevieW," and "Pathe Pictorial," as well as other prewar series of cinemags. Newsreel performances are also included. Based on more than 30 years research by the man dubbed custodian of the nation's nostalgia ("The Sunday Times," London), this is a unique and comprehensive guide for all researchers concerned with the history of British film.

This finely illustrated book offers a simple yet comprehensive 'grammar' of a new discipline. Performance Art first became popular in the fifties when artists began creating 'happenings'. Since then the artist as a performer has challenged many of the accepted rules of the theatre and radically altered our notion of what constitutes visual art. This is the first publication to outline the essential characteristics of the field and to put forward a method for teaching the subject as a discipline distinct from dance, drama, painting or sculpture.
Taking the theory of primary and secondary colours as his model, Anthony Howell posits three primaries of action and shows how these may be mixed to obtain a secondary range of actions. Based on a taught course, the system is designed for practical use in the studio and is also entertaining to explore. Examples are cited from leading performance groups and practitioners such as Bobbie Baker, Orlan, Stelarc, Annie Sprinkle, Robert Wilson, Goat Island, and Station House Opera.
This volume, however, is not just an illustrated grammar of action - it also shows how the syntax of that grammar has psychoanalytic repercussions. This enables the performer to relate the system to lived experience, ensuring a realisation that meaning is being dealt with through these actions and that the stystem set forth is more than a dry structuring of the characteristics of movement.
Freud's notion of 'transference' and Lacan's understanding of 'repetition' are compared to a performer's usage of the same terms. Thus the book provides a psychoanalytic critique of performance at the same time as it outlines an efficient method for creating live work on both fine art and theatre courses.

This book shows how in nineteenth-century Britain, confronted with the newly industrialized and urbanized modern world, writers, artists, journalists and impresarios tried to gain an overview of contemporary history. They drew on two successive but competing conceptual models of overview: the panorama and the compilation. Both models claimed to offer a holistic picture of the present moment, but took very different approaches. This book shows that panoramas (360 Degrees views previously associated with the Romantic period) and compilations (big data projects previously associated with the Victorian fin de siecle) are intertwined, relevant across the entire century, and often remediated, making them crucial lenses through which to view a broad range of genre and forms. It brings together interdisciplinary research materials belonging to different period silos to create new understandings of how nineteenth-century audiences dealt with information overload. It argues for a new politics of distance: one that recognizes the value of immersing oneself in a situation, event or phenomenon, but which also does not chastise us for trying to see the big picture. This book is essential reading for students and scholars of nineteenth-century literature, history, visual culture and information studies.

This book brings together a diverse range of contemporary scholarship around both Anthony Burgess's novel (1962) and Stanley Kubrick's film, A Clockwork Orange (US 1971; UK 1972). This is the first book to deal with both together offering a range of groundbreaking perspectives that draw on the most up to date, contemporary archival and critical research carried out at both the Stanley Kubrick Archive, held at University of the Arts London, and the archive of the International Anthony Burgess Foundation. This landmark book marks both the 50th anniversary of Kubrick's film and the 60th anniversary of Burgess's novel by considering the historical, textual and philosophical connections between the two. The chapters are written by a diverse range of contributors covering such subjects as the Burgess/Kubrick relationship; Burgess's recently discovered 'sequel' The Clockwork Condition; the cold war context of both texts; the history of the script; the politics of authorship; and the legacy of both-including their influence on the songwriting and personas of David Bowie!

In presenting their comprehensive definition of improvisation, the authors consider developments in improvisation in the arts since 1945 by particularly emphasizing process and technique and by featuring artists in all media, from Grotowski and Laurie Anderson to Goldsworthy. Their approach is analytical and theoretical, but it is also relevant to practitioners and their audience. For Smith and Dean, improvisation has been of great importance and value in the contemporary arts because of its potential to develop new forms, often by breaking existing definitions: they see hypermedia and interactive technologies as playing a key role in dissolving the audience/creator separation which exists especially in Western society, though often less in other cultures.

This volume explores how Latin American and Latinx creators have engaged science fiction to explore posthumanist thought. Contributors reflect on how Latin American and Latinx speculative art conceptualizes the operations of other, non-human forms of agency, and engages in environmentalist theory in ways that are estranging and open to new forms of species companionship. Essays cover literature, film, TV shows, and music, grouped in three sections: "Posthumanist Subjects" examines Latin(x) American iterations of some of the most common figurations of the posthuman, such as the cyborg and virtual environments and selves; "Slow Violence and Environmental Threats" understands that posthumanist meditations in the hemisphere take place in a material and cultural context shaped by the catastrophic destruction of the environment; the chapters in "Posthumanist Others" shows how the reimagination of the self and the world that posthumanism offers may be an opportunity to break the hold that oppressive systems have over the ways in which societies are constructed and governed.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

This book represents the first extended consideration of contemporary crime fiction as a European phenomenon. Understanding crime fiction in its broadest sense, as a transmedia practice, and offering unique insights into this practice in specific European countries and as a genuinely transcontinental endeavour, this book argues that the distinctiveness of the form can be found in its related historical and political inquiries. It asks how the genre's excavation of Europe's history of violence and protest in the twentieth century is informed by contemporary political questions. It also considers how the genre's progressive reimagining of new identities forged at the crossroads of ethnicity, gender, and sexuality is offset by its bleaker assessment of the corrosive effects of entrenched social inequalities, political corruption, and state violence. The result is a rich, vibrant collection that shows how crime fiction can help us better understand the complex relationship between Europe's past, present, and future. Seven chapters are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

This book examines three metafunction meanings in subtitle translation with three research foci, i.e., the main types of cross-modal interrelation, the primary function of semiotic interplay, and the key linguistic components influencing the subtitles. It goes beyond traditional textual analysis in translation studies; approaches subtitle translation from a multimodality standpoint; and breaks through the linguistic restraints on subtitling research by underscoring the role of semiotic interplay. In the field of multimodality, this book bridges subtitling and multimodality by investigating the interweaving relationships between different semiotic modes, and their corresponding impacts on subtitle translation.

Through candid personal interviews with Lucille Ball, Carol Burnett, and other visionary performers, Queens of Comedy explores how comediennes have redefined the roles of women in not only the entertainment business, but society as a whole. Detailing both their public and private lives - as well as their many and varied performances - Queen of Comedy examines the impact these women have had on the predominantly male-oriented world of comedy. Performers like Carol Burnett, Joan Rivers, and their more recent counterparts, comediennes Brett Butler and Roseanne, have helped to sift women's roles in comedy from object to subject. This book maps out this shift, providing an often brutally honest picture of women's lives in both the spotlight of comedy and this modern world.

This book teaches you how to master classic and cutting edge Foley techniques in order to create rich and convincing sound for any medium, be it film, television, radio, podcasts, animation, or games. Award-winning Foley artist Vanessa Theme Ament demonstrates how Foley is designed, crafted, and edited for any project, down to the nuts and bolts of spotting, cueing, and performing sounds. Various renowned sound artists provide a treasure trove of indispensable shortcuts, hot tips, and other valuable tricks of the trade. This updated third edition features the following: New chapters dedicated to Foley in games, television, broadcasting, and animation, as well as what is new in sound for media education A multitude of sound "recipes" that include proven Foley methods you can immediately use on your own projects A diverse range of case studies from well-known films, shows, games, and animation Interviews with current sound artists from around the world By exploring the entire audio post-production process, this book provides you with an excellent understanding of where Foley fits in the business of filmmaking and is a perfect guide for both newcomers and experienced sound designers wanting to learn more about this art. Accompanying the book are online resources featuring video demonstrations of Foley artists at work, video tutorials of specific Foley techniques, lectures from the author and more.

HUMOR IS AN INTEGRAL PART OF BRITISH LIFE AND LITERATURE
In "The Screwtape Letters, " C.S. Lewis's title character observes that Jokes and Flippancy are valued so highly by the English, "who take their 'sense of humour' so seriously that a deficiency in this sense is almost the only deficiency at which they feel shame." J.B. Priestly, too, in a related observation comments: "It is curious that so few foreigners have noticed that we English are a humorous race....In no other country will you hear so much talk about a sense of humour."
COVERS HUMOROUS LITERATURE FROM MEDIEVAL TO MODERN TIMES
Now for the first time, a comprehensive and up-to-date reference work tackles the subject of humor as it has been expressed in British literature, from "Beowulf" to the present. The 206 signed original essays represent the work of 119 scholars from seven countries and diverse disciplines. Major literary figures such as Jonathan Swift, Oscar Wilde, G.B. Shaw, and Noel Coward are included, as well as lesser known lights such as Francis Beaumont, Stella Gibbons, and George Du Maurier. Readers may be surprised to learn that other literary luminaries such as W.H. Auden, Winston Churchill, Samuel Johnson, and Edith Sitwell have also produced humorous writings.
ANALYZES LITERARY AND COMIC TECHNIQUES
The most important feature of the essays is their literary analysis, which provides an overview of the author's writings, as well as in-depth analyses of comic techniques in the subject's major works. A biography helps place the writer in historical context, providing such information as the place and date of birth, education, honors and achievements, marital status, and place and date of death. In addition to the signed essays, the "Encyclopedia" includes a preface, a chronological index, a list of pseudonyms, an introduction, a list of the contributors, and an index.

This book analyzes a range of Edgar Allan Poe's writing, focusing on new readings that engage with classical and (post)modern studies of his work and the troubling literary relationship that he had with T.S. Eliot. Whilst the book examines Poe's influence in Spain, and how his figure has been marketed to young and adult Spanish reading audiences, it also explores the profound impact that Poe had on other audiences, such as in America, Greece, and Japan, from the nineteenth to the twenty-first century. The essays attest to Poe's well-deserved reputation, his worldwide legacy, and his continued presence in global literature. This book will appeal particularly to university teachers, Poe scholars, graduate students, and general readers interested in Poe's oeuvre.

Today's successful cinematographer must be equal parts artist, technician, and business-person. The cinematographer needs to master the arts of lighting, composition, framing and other aesthetic considerations, as well as the technology of digital cameras, recorders, and workflows, and must know how to choose the right tools (within their budget) to get the job done. David Stump's Digital Cinematography focuses on the tools and technology of the trade, looking at how digital cameras work, the ramifications of choosing one camera versus another, and how those choices help creative cinematographers to tell a story. This book empowers the reader to correctly choose the appropriate camera and workflow for their project from today's incredibly varied options, as well as understand the ins and outs of implementing those options. Veteran ASC cinematographer David Stump has updated this edition with the latest technology for cameras, lenses, and recorders, as well as included a new section on future cinematographic trends. Ideal for advanced cinematography students as well as working professionals looking for a resource to stay on top of the latest trends, this book is a must read.

Comedy, Seriously provides a philosophical interpretation of comedy and argues that comedy displays a particular kind of rationality that reflects philosophical thinking. In particular, that comedy is defined not so much by laughter or jokes, but rather the structure of its plot, which is isomorphic with that of the philosophical argument. Comedy allows for the resolution of a conflict and the achievement of well-being and equality through action that follows the comic plot. Moreover, such action is propelled by the 'thinker on stage,' who, as socially and politically oppressed, contributes to the liberation of all and the achievement of the good life. Comedy, therefore, establishes the universal pattern for justice and well-being and allows us to rethink the notion of subjectivity not as the modern isolated subject, but rather as integrated with others through shared action and dialogical involvement.

Shibata Renzaburo and the Reinvention of Modernism in Postwar Japanese Popular Literature explores the life and work of Shibata Renzaburo ( , 1917-1978), the author of adventure and historical novels who was instrumental in reinvigorating popular Japanese literature in the postwar period. This book considers postwar Japanese society through the prism of Shibata's writing, exploring how the postwar period under SCAP Occupation influenced Shibata's writing and generated the extraordinary popularity of samurai fiction in the postwar era at large. Through the use of a nihilistic warrior, Nemuri Kyoshiro, and other samurai characters, Shibata Renzaburo addresses important social issues of the day, such as the trauma of defeat, postwar reconstruction, and the attending societal ills and neuroses, while keeping his literature entertaining and easy to read, which ensured its mass appeal in postwar Japan.

This edited volume analyzes participatory practices in art and cultural heritage in order to determine what can be learned through and from collaboration across disciplinary borders. Following recent developments in museology, museum policies and practices have tended to prioritize community engagement over a traditional focus on collecting and preserving museal objects. At many museal institutions, a shift from a focus on objects to a focus on audiences has taken place. Artistic practices in the visual arts, music, and theater are also increasingly taking on participatory forms. The world of cultural heritage has seen an upsurge in participatory governance models favoring the expertise of local communities over that of trained professionals. While museal institutions, artists, and policy makers consider participation as a tool for implementing diversity policy, a solution to social disjunction, and a form of cultural activism, such participation has also sparked a debate on definitions, and on issues concerning the distribution of authority, power, expertise, agency, and representation. While new forms of audience and community engagement and corresponding models for "co-creation" are flourishing, fundamental but paralyzing critique abounds and the formulation of ethical frameworks and practical guidelines, not to mention theoretical reflection and critical assessment of practices, are lagging. This book offers a space for critically reflecting on participatory practices with the aim of asking and answering the question: How can we learn to better participate? To do so, it focuses on the emergence of new norms and forms of collaboration as participation, and on actual lessons learned from participatory practices. If collaboration is the interdependent formulation of problems and entails the common definition of a shared problem space, how can we best learn to collaborate across disciplinary borders and what exactly can be learned from such collaboration?