This comprehensive and in-depth study delves into the life and works of one of modern films most celebrated, successful and intriguing auteurs, Christopher Nolan. 'What is the most resilient parasite? Bacteria? A virus? An intestinal worm? An idea. Resilient...highly contagious. Once an idea has taken hold of the brain it's almost impossible to eradicate.' - Cobb, Inception How has Nolan become this leading director? Is he the new Kubrick? What do audiences get out of his games? Visually, he offers a steely science-fiction noir with the highlights of big stars and a magician's flourishes, whether he is tackling Victorian London or the far reaches of outer space. In narrative terms, his films twist and turn, provoking as many questions as they answer. This book will look to crack open the magic box of Nolan's twisting universe. As a character, he eludes easy answers. Veteran film author Ian Nathan's research will lean into deciphering his cryptic pronouncements and motivations alongside the history and making of his films. Examining both the making of and the inspiration behind his many, many hit films, from The Prestige (2006) to the hugely successful Batman films, through to his mind-bending science fiction works such as Inception (2014) and Tenet (2020). Filled with fascinating insights and illustrated throughout with cinematography from his visually stunning ouvre, this book offers a unique, important and unmissable insight into the mind of this most brilliant of directors.

Beginning with her critically acclaimed independent feature film Eve's Bayou (1997), writer-director Kasi Lemmons's mission has been to push the boundaries that exist in Hollywood. With Eve's Bayou, her first feature film, Lemmons (b. 1961) accomplished the rare feat of creating a film that was critically successful and one of the highest-grossing independent films of the year. Moreover, the cultural impact of Eve's Bayou endures, and in 2018 the film was added to the Library of Congress's National Film Registry as a culturally, historically, or aesthetically significant film. Lemmons's directing credits also include The Caveman's Valentine, Talk to Me, Black Nativity, and, most recently, Harriet, making Lemmons one of the most prolific and long-standing women directors in Hollywood. As a black woman filmmaker and a self-proclaimed black feminist, Lemmons breaks the mold of what is expected of a filmmaker in Hollywood. She began her career in Hollywood as an actor, with roles in numerous television series and high-profile films, including Spike Lee's School Daze and Jonathan Demme's Academy Award-winning The Silence of the Lambs. This volume collects fifteen interviews that illuminate Lemmons's distinctive ability to challenge social expectations through film and actualize stories that broaden expectations of cinematic black femaleness and maleness. The interviews reveal Lemmons's passion to create art through film, intimately linked to her mission to protest culturally and structurally imposed limitations and push the boundaries imposed by Hollywood.

In the history of American soul music, perhaps no other artist has been more overlooked than Joe Tex. During the golden age of soul music in the 1960's, Tex was not only a tremendous singer and dancer, but he wrote many hit songs, including his own four biggest hit records. This book follows his early days in Texas, his success and struggles on the road, his 25-year recording career, his life-long rivalry with James Brown, his conversion to the Muslim faith, and his triumphant return to show business. Joe Tex is one of the most dynamic and talented artists in the history of American music. Here is his story. Rare photographs and discography included.

Exploring the controversial history of an aesthetic - realism - this book examines the role that realism plays in the negotiation of social, political, and material realities from the mid-19th century to the present day. Examining a broad range of literary texts from French, English, Italian, German, and Russian writers, this book provides new insights into how realism engages with themes including capital, social decorum, the law and its politicisation, modern science as a determining factor concerning truth, and the politics of identity. Considering works from Gustave Flaubert, Charles Baudelaire, Emile Zola, Henry James, Charles Dickens, and George Orwell, Docherty proposes a new philosophical conception of the politics of realism in an age where politics feels increasingly erratic and fantastical.

The training of elite dancers has not changed in the last 60 years; it is often only those that have survived the training that go on to have a career, not necessarily the most talented. It is time to challenge and change how we train tomorrow's professional dancers. This book brings you the reasons why and all tools to implement change. 10 years ago, Matthew Wyon and Gaby Allard introduced a new pedagogical approach to training vocational dancers: Periodization. This ground-breaking new methodology provides an adaptable framework to optimise training - it's goal-focused, fits to performance schedules, and is highly sustainable for the dancer. It is the future. For the first time, Wyon and Allard have put their discoveries to paper. Periodization provides clear context to why change is needed, and explores the theoretical underpinnings of this new approach and how it can be effectively applied to a dance environment.

This study traces the evolution of early film societies in Germany and Austria, from the emergence of mass movie theaters in the 1910s to the turbulent years of the late Weimar Republic. Examining a diverse array of groups, it approaches film societies as formations designed to assimilate and influence a new medium: a project emerging from the world of amateur science before taking new directions into industry, art and politics. Through an interdisciplinary approach-in dialogue with social history, print history and media archaeology-it also transforms our theoretical understanding of what a film society was and how it operated. Far from representing a mere collection of pre-formed cinephiles, film societies were, according to the book's central argument, productive social formations, which taught people how to nurture their passion for the movies, how to engage with cinema, and how to interact with each other. Ultimately, the study argues that examining film societies can help to reveal the diffuse agency by which generative ideas of cinema take shape.

In Film and Video Intermediality, Janna Houwen innovatively rewrites the concept of medium specificity in order to answer the questions "what is meant by video?" and "what is meant by film?" How are these two media (to be) understood? How can film and video be defined as distinct, specific media? In this era of mixed moving media, it is vital to ask these questions precisely and especially on the media of video and film. Mapping the specificity of film and video is indispensable in analyzing and understanding the many contemporary intermedial objects in which film and video are mixed or combined.

Classical Greek Tragedy offers a comprehensive survey of the development of classical Greek tragedy combined with close readings of exemplary texts. Reconstructing how audiences in fifth-century BCE Athens created meaning from the performance of tragedy at the dramatic festivals sponsored by the city-state and its wealthiest citizens, it considers the context of Athenian political and legal structures, gender ideology, religious beliefs, and other social forces that contributed to spectators' reception of the drama. In doing so it focuses on the relationship between performers and watchers, not only Athenian male citizens, but also women and audiences throughout the ancient Mediterranean world. This book traces the historical development of these dynamics through three representative tragedies that span a 50 year period: Aeschylus' Seven Against Thebes, Sophocles' Oedipus Tyrannus, and Euripides' Helen. Topics include the role of the chorus; the tragic hero; recurring mythical characters and subject matter; Aristotelian assessments of the components of tragedy; developments in the architecture of the theater and their impact on the interactions of characters, and the spaces they occupy. Unifying these discussions is the observation that the genre articulates a reality beyond the visible stage action that intersects with the characters' existence in the present moment and resonates with the audience's religious beliefs and collective psychology. Human voices within the performance space articulate powerful forces from an invisible dimension that are activated by oaths, hymns, curses and prayers, and respond in the form of oracles and prophecies, forms of discourse which were profoundly meaningful to those who watched the original productions of tragedy.

This volume responds to a renewed focus on tragedy in theatre and literary studies to explore conceptions of tragedy in the dramatic work of seventeen canonical American playwrights. For students of American literature and theatre studies, the assembled essays offer a clear framework for exploring the work of many of the most studied and performed playwrights of the modern era. Following a contextual introduction that offers a survey of conceptions of tragedy, scholars examine the dramatic work of major playwrights in chronological succession, beginning with Eugene O'Neill and ending with Suzan-Lori Parks. A final chapter provides a study of American drama since 1990 and its ongoing engagement with concepts of tragedy. The chapters explore whether there is a distinctively American vision of tragedy developed in the major works of canonical American dramatists and how this may be seen to evolve over the course of the twentieth century through to the present day. Among the playwrights whose work is examined are: Susan Glaspell, Langston Hughes, Tennessee Williams, Arthur Miller, Edward Albee, Lorraine Hansberry, Amiri Baraka, August Wilson, Marsha Norman and Tony Kushner. With each chapter being short enough to be assigned for weekly classes in survey courses, the volume will help to facilitate critical engagement with the dramatic work and offer readers the tools to further their independent study of this enduring theme of dramatic literature.