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Get a close-up view of the life of a strawberry.
How is honey made? Honey starts as nectar that is gathered by bees
from flowers, put into honeycombs, and collected by beekeepers to
sell to stores for people to eat.
Get a close-up view of the life of a pumpkin.
This project addresses the contexts of Practice as Research and how
to undertake it. This second iteration updates thinking and
practices but sustains a direct and clear approach on how to become
a practitioner-researcher. New features include an extension of
range "beyond" the arts and a case for intra-disciplinarity in
Practice Research as an influence in the formation of the "future
university". A comparison is made between Artistic Research and
Practice Research recognizing that research through practices with
being-doing-knowing is central to both. Acknowledging the current
crisis in legitimation, a broad view is taken of how things might
be known by an onto-epistemology for the twenty-first century
foregrounding the bodymind but sustaining rationality and community
by way of Other/other dialogic exchange. Perspectives from around
the world in Part II offset the more Eurocentric emphasis in Part
I.
This volume examines afresh the impact upon acting and performance
of digital technologies. It is concerned with how digital culture
combines the traditional 'liveness' of theatre with media
interfaces and internet protocols. The time and space of the 'here
and now' are both challenged and adapted, just as barriers between
theatre-makers and the 'experiencers' of events are broken down.
Today many of us are everyday players performing the
interconnectedness of digital culture and a key aim of the book is
to unpack the multiple interrelations within the landscape of
contemporary performance. Access to a range of 'instances' (The
Builders Association, Castellucci, Castorf, Gob Squad, Lepage,
Second Life and VJing) is through 'portals' which afford
perspectives on the main characteristics of theatre and performance
in the digital age.
Over four decades, Stephen Poliakoff has proved himself to be a
distinctive dramatist in the mediums of theatre, film and
television. Moving from playwright to television and film director,
he has been hailed as 'TV's foremost writer' (Independent) and as
'one of our most poetic and best TV dramatists' (Daily Telegraph).
In the USA, his TV 'films' have received industry acclaim, The Lost
Prince winning three Emmy Awards and Gideon's Daughter two Golden
Globes. This book is the first to offer a comprehensive overview of
Poliakoff's work for stage and screen and a framework for its
critical evaluation. It will prove invaluable to students of
theatre, film, and television studies. Robin Nelson locates
Poliakoff's distinctive vision and fierce independence as a writer
and director in both personal and public histories and against
industry contexts. He charts Poliakoff's 'meteoric rise' as a
playwright, and his 'second starburst' in television drama since
Shooting the Past (1999) which re-affirmed his reputation as a
dramatist of distinction. While the chronology of Poliakoff's
impressive output is clearly laid out, works are discussed in
thematic clusters ranging across mediums to afford a fresh
perspective. The book covers 'issue dramas', 'quirky strong women'
and 'histories/memories' as well as Poliakoff's early developing
dramaturgy, and it examines in detail the later feature films and
television dramas which have secured his reputation as our most
distinctive television dramatist.
This title for young readers describes hibernation of animals.
TV Drama in Transition reflects upon changing dramatic forms on
television in the context of broad cultural shifts over the past
two decades. Analyses of a wide range of series (from Heartbeat to
Middlemarch and Our Friends in the North; from NYPD Blue to Twin
Peaks to The X-Files) are interspersed with accounts of new
technologies, viewing dispositions and the political economy of
culture. This book is generally concerned as much with the
condition of culture in the 1980s and 1990s, as specifically with
TV drama.
How does sheep's wool turn into cozy clothing? Follow each step in
the production cycle--from shearing a sheep to pulling on a warm
sweater--in this fascinating book
Robin Nelson's State of play up-dates and develops the arguments of
his influential TV Drama In Transition (1997). It is equally
distinctive in setting analusis of the aesethetics and
compositional principles of texts within a broad conceptual
framework (technologies, institutions, economics, cultural trends).
Tracing "the great value shift from conduit to content" (Todreas,
1999), Nelson is relatively optimistic about the future quality of
TV Drama in a global market-place. But, characteristically taking
up questions of worth where others have avoided them, Nelson
recognizes that certain types of "quality" are privileged for
viewers able to pay, possibly at the expense of viewer preference
worldwide for "local" resonances in television. The mix of arts and
cultural studies methodologies makes for an unusual and insightful
approach. -- .
Robin Nelson's State of play up-dates and develops the arguments of
his influential TV Drama In Transition (1997). It is equally
distinctive in setting analusis of the aesethetics and
compositional principles of texts within a broad conceptual
framework (technologies, institutions, economics, cultural trends).
Tracing "the great value shift from conduit to content" (Todreas,
1999), Nelson is relatively optimistic about the future quality of
TV Drama in a global market-place. But, characteristically taking
up questions of worth where others have avoided them, Nelson
recognizes that certain types of "quality" are privileged for
viewers able to pay, possibly at the expense of viewer preference
worldwide for "local" resonances in television. The mix of arts and
cultural studies methodologies makes for an unusual and insightful
approach. -- .
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