The political climate is laden with discord but in this political thriller, the subject intensifies when the United States President falls into the fierce grip of an unprecedented illness. Revolving around a President's battle with Alzheimer s, his talks with a drunkard and rash Russian president leaning towards war, and a corrupt U.S. Vice President eager to take charge, the plotline in this fictional screenplay follows President Jefferson Payne's White House staff as they scramble to hold together the political jigsaw puzzle that arises after the president undergoes brain surgery using a controversial a memory-loss cure from human embryo stem cells developed by a discredited neurobiologist. Based on new, actual scientific discoveries coming from today's biomedical laboratories, the plot also tracks the progress of a brilliant scientist working against all obstacles political, scientific, religious, powerful and corrupt to get the antidote to the doctors in time to restore Payne s memory, save his presidency and halt potential war.

Communicative Musicality explores the intrinsic musical nature of human interaction. The theory of communicative musicality was developed from groundbreaking studies showing how in mother/infant communication there exist noticeable patterns of timing, pulse, voice timbre, and gesture. Without intending to, the exchange between a mother and her infant follow many of the rules of musical performance, including rhythm and timing.
This is the first book to be devoted to this topic. In a collection of cutting-edge chapters, encompassing brain science, human evolution, psychology, acoustics and music performance, it focuses on the rhythm and sympathy of musical expression in human communication from infancy. It demonstrates how speaking and moving in rhythmic musical ways is the essential foundation for all forms of communication, even the most refined and technically elaborated, just as it is for parenting, good teaching, creative work in the arts, and therapy to help handicapped or emotionally distressed persons.
A landmark in the literature, Communicative Musicality is a valuable text for all those in the fields of developmental, educational, and music psychology, as well as those in the field of music therapy.

A renowned and beloved international actress, first successful on the London stage, Jessica Tandy captured Broadway as Blanche DuBois in Tennessee Williams' A Streetcar Named Desire in 1947, making that role forever hers. After a series of major theatrical triumphs and moderate film successes, many with her husband, Hume Cronyn, she won an Oscar for Best Actress at the age of 80 for her performance as Daisy Werthan in Driving Miss Daisy in 1989. This comprehensive reference guide to Tandy's distinguished career features a biographical sketch followed by a chronology of highlights in her life and chapters documenting her careers in theatre, film, television, and on recordings. Her many awards and honors are listed in a separate chapter. An annotated bibliography selects major book, newspaper, and magazine features and interviews; and reviews are also noted with appropriate productions in the previous chapters. Memorable Broadway roles are illustrated with scenes from Streetcar, The Fourposter (with Hume Cronyn, 1951), Five Finger Exercise (1959), A Delicate Balance (with Cronyn, 1966), The Gin Game (1977), Rose (1981), and Foxfire (with Cronyn, 1982).

The focus of Chinese literary studies has long been on the written word even though Chinese fiction and drama have strong oral roots and have been shaped by an interplay between oral and written traditions. The culmination of decades working on this issue - and using as its lens the story about how the legendary hero Wu Song killed a tiger with his bare hands - this volume explores Chinese oral professional storytelling and its relations with literary culture in the past and present.

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.

Few figures in cinema history are as towering as Russian filmmaker and theorist Sergei Mikhailovitch Eisenstein (1898-1948). Not only did Eisenstein direct some of the most important and lasting works of the silent era, including Strike, October, and Battleship Potemkin, as well as, in the sound era, the historical epics Alexander Nevsky and Ivan the Terrible he also was a theorist whose insights into the workings of film were so powerful that they remain influential for both filmmakers and scholars today. Seagull Books is embarking on a series of translations of key works by Eisenstein into English. The Short-Fiction Scenario presents a master-class on turning a short story into an effective film. Delivered as a series of lectures at the State Institute of Cinematography, it details two parallel scripts drawn from the same story; at each point of difference, Eisenstein explains why one works better.

This book examines how film articulates countercultural flows in the context of the Egyptian Revolution. The book interrogates the gap between radical politics and radical aesthetics by analyzing counterculture as a form, drawing upon Egyptian films produced between 2010 and 2016. The work offers a definition of counterculture which liberates the term from its Western frame and establishes a theoretical concept of counterculture which is more globally redolent. The book opens a door for further research of the Arab Uprising, arguing for a new and topical model of rebellion and struggle, and sheds light on the interaction between cinema and the street as well as between cultural narratives and politics in the context of the 2011 Egyptian uprising. What is counterculture in the twenty-first century? What role does cinema play in this new notion of counterculture?

The legal terminology is portrayed in a simple and accessible way, making it ideal for beginner filmmakers with zero law knowledge Organized chronologically according to the life cycle of a film, but written in a way that allows the filmmaker to jump in and find a specific answer without having to read the book cover to cover first. A section featuring frequently asked questions help you zero in on particularly pressing issues, while appendices at the end form a portable law library to provide you with separate handy guides to intellectual property, contract, labor and employment law

* Provides a comprehensive approach to Motion Design as Design Practice with specific areas of focus for a range of audiences. * Integrates professional examples, case studies, and interviews to validate its themes. * Written from ongoing and pragmatic experience in both education and professional practice.

Ranging from adaptations of traditional tales to original and contemporary short plays, The Three Billy Goats Gruff and Other Plays is an entertaining book of plays which is perfect for schools and at home.

Includes the following plays: 1. The Three Billy Goats Gruff 2. The Boy Who Cried Wolf 3. Turtle Tug 4. The Magic Twig 5. Birthday Surprise 6. Name Games

Discover more original Julia Donaldson plays with The Trial of Wilf Wolf and Other Plays and Books and Crooks and Other Plays.

This book focuses on the theme of counter-surveillance in art through a multi-faceted engagement with the highly controversial Norwegian play Ways of Seeing. Denounced by the prime minister and subject to a police investigation, the play gained notoriety when it featured footage showing the homes of the country's financial and political elite as part of its scenography. The book provides a thorough consideration of the work's reception context before elucidating its relation to the politics of neoliberalism. What is foregrounded in this analysis are, first, the use of an aesthetics of sousveillance to visualize the material infrastructure of racism and right-wing populism, second, the tangled interrelations of art and law, third, questions of censorship and artistic freedom, and fourth, the promotion of an alternative mode of political governance - grounded in feminism and ecological awareness - through the example of the Rojava experiment.

The Differentiation of Modernism analyzes the phenomenon of intermediality in German radio plays, film music, and electronic music of the late modernist period (1945-1980). After 1945, the purist "medium specificity" of high modernism increasingly yielded to the mixed forms of intermediality. Theodor Adorno dubbed this development a "Verfransung," or "fraying of boundaries," between the arts. TheDifferentiation of Modernism analyzes this phenomenon in German electronic media arts of the late modernist period (1945-80): in radio plays, film music, and electronic music. The first part of the book begins with a chapter on Adorno's theory of radio as an instrument of democratization, going on to analyze the relationship of the Hoerspiel or radio play to electronic music. In the second part, on film music, a chapter on Adorno and Eisler's Composing for the Film sets the parameters for chapters on the film Das Madchen Rosemarie (1957) and on the music films of Jean-Marie Straub and Daniele Huillet. The third part examines the music of Karlheinz Stockhausen and its relationship to radio, abstract painting, recording technology, and theatrical happenings. The book's central notion of the "differentiation of culture" suggests that late modernism, unlike high modernism, accepted the contingency of modern mass-media driven society and sought to find new forms for it. Larson Powell is Curator's Professor of Film Studies at University of Missouri, Kansas City. He is the author of The Technological Unconscious in German Modernist Literature (Camden House, 2008).

This book explores Turkey's complicated relationship to modernity and its status within the new global order by tracing the ambivalent ways in which tasra (the provinces) is constituted in contemporary Turkish cinema and literature. Connoting much more than its immediate spatial meaning as those places outside of the center(s), tasra is a way of naming what modernity decries as spatial peripherality, temporal belatedness, and cultural backwardness. It has functioned historically as a psychosocial repository for what Turkish modernity degrades and disavows, enabling a mapping of the predicaments and contradictions of Turkish modernization and national identity-constitution. Organized around tasra as its central analytic and informed by postcolonial, psychoanalytical, and critical theory, the book examines the extent to which dominant codings of tasra are affirmed and/or complicated in cinematic and literary narratives by award-winning filmmakers Nuri Bilge Ceylan and Fatih Akin and Nobel laureate Orhan Pamuk.

This volume provides an overview of the landscape of mediated female agencies and subjectivities in the last decade. In three sections, the book covers the films of women directors, television shows featuring women in lead roles, and the representational struggles of women in cultural context, with a special focus on changes in the transformative power of narratives and images across genres and platforms. This collection derives from the editors' multi-year experiences as scholars and practitioners in the field of film and television. It is an effort that aims to describe and understand female agencies and subjectivities across screen narratives, gather scholars from around the world to generate timely discussions, and inspire fellow researchers and practitioners of film and television.

This book explores adaptation in its various forms in contemporary television drama. It considers the mechanics of adaptation as an ever-more prevalent form of production, most notably in the reworking of literary sources for television. It also explores the broader process through which the television industry as a whole is currently making necessary adaptations in how it tells stories, especially in relation to important concerns of equality, diversity and inclusion. Offering and analysing 16 original interviews with leading British television producers, writers, directors, production designers, casting directors and actors, and with a particular focus on female and/or minority-ethnic industry perspectives, the book examines some of the key professional and creative approaches behind television adaptations today. The book connects these industry insights to the existing conceptual and critical frameworks of television studies and adaptation studies, illuminating the unique characteristics of television adaptation as a material mode of production, and revealing television itself as an inherently adaptive artform.

This book combines content analysis of film and television cases, the examination of policy documents, and first-hand interview material with Danish industry professionals, tracing the pivotal moments in media and welfare state history to unite these two overlapping spheres: welfare state social policy and media imagery. In doing so, it addresses a gap in existing academic and policy documents to demonstrate how motherhood and femininity are presented in contemporary state-supported Danish screen fiction. As an industry premised on state funding and public service values, Danish screen fiction plays a cogent role in shaping and communicating cultural norms and provides a space for the cultivation of belonging and a sense of a shared identity. For this reason, it is vital to identify and examine representational trends and patterns in popular media formats. This book argues that the political narrative of gender equality, democracy and universal social support that permeates Danish state policy is undermined in screen fiction, wherein working mother characters are problematised and the welfare system's integrity is challenged. This book asserts that the framing of femininity, motherhood and citizenship in many contemporary Danish films and television dramas indicates a cultural concern about the welfare state's institutionalisation of caregiving and presents absent mothers as an indirect cause of crime, trauma or social unrest.

This volume brings together research on the forms, genres, media and histories of refugee migration. Chapters come from a range of disciplines and interdisciplinary approaches, including literature, film studies, performance studies and postcolonial studies. The goal is to bring together chapters that use the perspectives of the arts and humanities to study representations of refugee migration. The chapters of the anthology are organized around specific forms and genres: life-writing and memoir, the graphic novel, theater and music, film and documentary, coming-of-age stories, street literature, and the literary novel.

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.

Restoring the Human Context to Literary and Performance Studies argues that much of contemporary literary theory is still predicated, at least implicitly, on outdated linguistic and psychological models such as post-structuralism, psychoanalysis, and behaviorism, which significantly contradict current dominant scientific views. By contrast, this monograph promotes an alternative paradigm for literary studies, namely Contextualism, and in so doing highlights the similarities and differences among the sometimes-conflicting contemporary cognitive approaches to literature and performance, arguing not in favor of one over the other but for Contextualism as their common ground.

The essays in this volume seek to expose the scandals of adaptation. Some of them focus on specific adaptations that have been considered scandalous because they portray characters acting in ways that give scandal, because they are thought to betray the values enshrined in the texts they adapt, because their composition or reception raises scandalous possibilities those adapted texts had repressed, or because they challenge their audiences in ways those texts had never thought to do. Others consider more general questions arising from the proposition that all adaptation is a scandalous practice that confronts audiences with provocative questions about bowdlerizing, ethics, censorship, contagion, screenwriting, and history. The collection offers a challenge to the continued marginalization of adaptations and adaptation studies and an invitation to change their position by embracing rather than downplaying their ability to scandalize the institutions they affront.

Applying the theories of Popular Culture, Visual Culture, Performance Studies, (Post)Feminism, and Film Studies, this interdisciplinary and well-crafted book leads you to the fascinating and intriguing world of popular film, (musical) theatre, and TV drama. It explores the classical and contemporary cases of the literature works, both Eastern and Western, adapted, represented and transformed into the interesting artistic medium in films, performances, TV dramas, musicals, and AI robot theatre/films. 'Iris Tuan's book is wide ranging in scope and diversity, examining theatre, music, film and television productions from both Western and Asian countries. Tuan also surveys an extensive range of critical and theoretical perspectives, especially from performance studies and popular cultural studies, to offer context for her descriptions of the many different works. Some of her examples are well-known (Shakespeare's Romeo & Juliet, Disney's The Lion King) while others little known outside their place of origin (such as the Hakka Theatre of Taiwan) -- all are approached by the author with enthusiasm.' -Susan Bennett, Professor of English, University of Calgary, Canada 'Tuan takes us through multiple examples of contemporary popular performance in theatre/film/TV ranging from "high" art sources (Shakespeare or Journey to the West in films, Hirata's robotic theatre experiments) to "low" (Taiwanese TV soap operas Hakka Theatre: Roseki and Story of Yangxi Palace, Korean film Along with the Gods: The Two Worlds). The reader moves at a speed-dating pace through contemporary culture production and interpretive theories, encountering significant works, controversies (i. e., yellow face), and conundrums selected from China, Korea, Japan and the U. S. and filtered through a Taiwanese female gaze.' -Kathy Foley, Professor of Theatre Arts, University of California Santa Cruz, USA

This book argues that philosophical pessimism can offer vital impulses for contemporary cultural studies. Pessimist thought offers ways to interrogate notions of temporality, progress and futurity. When the horizon of future expectation is increasingly shaped by the prospect of apocalypse and extinction, an exploration of pessimist thought can help to make sense of an increasingly complex and uncertain world by affirming rather than suppressing the worst. This book argues that a cultural logic of the worst is at work in a substantial section of contemporary philosophical thought and cultural representations. Spectres of pessimism can be found in contemporary ecocritical thought, antinatalist philosophies, political thought, and cultural theory, as well as in literature, film, and popular music. In its unsettling of temporality, this new pessimism shares sensibilities with the field of hauntology. Both deconstruct linear narratives of time that adhere to a stable sequence of past, present and future. Mark Schmitt therefore couples pessimism and hauntology to explore the spectres of pessimism in a range of theories and narratives-from ecocriticism, antinatalism and queer theory to utopianism, from afropessimism to the fiction of Hari Kunzru and Thomas Ligotti to the films of Camille Griffin, Gaspar Noe, Denis Villeneuve and Lars von Trier.

Celebrate Christmas with the Griswolds with this unique station wagon and tree collectible with a fun sound element. SPECIFICATIONS: 3-inch station wagon and tree collectible figurine on a base with sound button FEATURES FIVE SOUND CLIPS: Audio includes iconic quotes and songs from the film BOOK INCLUDED: Includes a 32-page mini book featuring memorable quotes and color photos OFFICIALLY LICENSED: Authentic collectible NATIONAL LAMPOON'S CHRISTMAS VACATION and all related characters and elements (c) & (TM) Warner Bros. Entertainment Inc. (s22)