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This collection explores the cultural fascination with social media
forms of self-portraiture, "selfies," with a specific interest in
online self-imaging strategies in a Western context. This book
examines the selfie as a social and technological phenomenon but
also engages with digital self-portraiture as representation: as
work that is committed to rigorous object-based analysis. The
scholars in this volume consider the topic of online
self-portraiture—both its social function as a technology-driven
form of visual communication, as well as its thematic,
intellectual, historical, and aesthetic intersections with the
history of art and visual culture. This book will be of interest to
scholars of photography, art history, and media studies.
This collection explores the cultural fascination with social media
forms of self-portraiture, "selfies," with a specific interest in
online self-imaging strategies in a Western context. This book
examines the selfie as a social and technological phenomenon but
also engages with digital self-portraiture as representation: as
work that is committed to rigorous object-based analysis. The
scholars in this volume consider the topic of online
self-portraiture-both its social function as a technology-driven
form of visual communication, as well as its thematic,
intellectual, historical, and aesthetic intersections with the
history of art and visual culture. This book will be of interest to
scholars of photography, art history, and media studies.
This collection of three hip hop plays by Conrad Murray and his
Beats & Elements collaborators Paul Cree, David Bonnick Junior
and Lakeisha Lynch-Stevens, is the first publication of the
critically acclaimed theatre-maker's work. The three plays use hip
hop to highlight the inequalities produced by the UK's class
system, and weave lyricism, musicality and dialogue to offer
authentic accounts of inner-city life written by working-class
Londoners. The plays are accompanied by two introductory essays:
The first gives a specific social and historical context that helps
readers make sense of the plays, the second positions hip hop as a
contemporary literary form and offers some ways to read hip hop
texts as literature. The collection also includes a foreword by
leading hip hop theatre practitioner Jonzi D, interviews with the
Beats & Elements company, and a glossary of words for students
and international readers.
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Darrel Ellis (Hardcover)
Darrel Ellis; Text written by Steven G Fullwood, Derek Conrad Murray, Tiana Reid; Contributions by Sadie Barnette, …
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R1,068
Discovery Miles 10 680
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Ships in 12 - 17 working days
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Making Hip Hop Theatre is the essential, practical guide to making
hip-hop theatre. It features detailed techniques and exercises that
can guide creatives from workshops through to staging a
performance. If you were inspired by Hamilton, Barber Shop
Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a
Monster, this is the book for you. Covering vocal technique, use of
equipment, mixing, looping, sampling, working with venues and
dealing with creative challenges, this book is a bible for both new
and experienced artists alike. Additionally, with links to online
video material demonstrating and elaborating on the exercises
included, it offers countless useful tools for teachers and
facilitators of drama, music and other creative arts. Alongside
this practical guidance is an overview of hip hop history, giving
theoretical and historical context for the practice. From
documentation of Conrad Murray's major productions, to commentary
from leading practitioners including Lakeisha Lynch-Stevens, David
Jubb, Emma Rice, Tobi Kyeremateng and Paula Varjack, readers are
treated to a detailed insight into the background of hip hop
theatre. Edited by scholar Katie Beswick and genre pioneer Conrad
Murray, Making Hip Hop Theatre is a vital teaching tool and
provides a much-needed account of a burgeoning aspect of
contemporary theatre culture.
Making Hip Hop Theatre is the essential, practical guide to making
hip-hop theatre. It features detailed techniques and exercises that
can guide creatives from workshops through to staging a
performance. If you were inspired by Hamilton, Barber Shop
Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a
Monster, this is the book for you. Covering vocal technique, use of
equipment, mixing, looping, sampling, working with venues and
dealing with creative challenges, this book is a bible for both new
and experienced artists alike. Additionally, with links to online
video material demonstrating and elaborating on the exercises
included, it offers countless useful tools for teachers and
facilitators of drama, music and other creative arts. Alongside
this practical guidance is an overview of hip hop history, giving
theoretical and historical context for the practice. From
documentation of Conrad Murray’s major productions, to commentary
from leading practitioners including Lakeisha Lynch-Stevens, David
Jubb, Emma Rice, Tobi Kyeremateng and Paula Varjack, readers are
treated to a detailed insight into the background of hip hop
theatre. Edited by scholar Katie Beswick and genre pioneer Conrad
Murray, Making Hip Hop Theatre is a vital teaching tool and
provides a much-needed account of a burgeoning aspect of
contemporary theatre culture.
This collection of three hip hop plays by Conrad Murray and his
Beats & Elements collaborators Paul Cree, David Bonnick Junior
and Lakeisha Lynch-Stevens, is the first publication of the
critically acclaimed theatre-maker's work. The three plays use hip
hop to highlight the inequalities produced by the UK's class
system, and weave lyricism, musicality and dialogue to offer
authentic accounts of inner-city life written by working-class
Londoners. The plays are accompanied by two introductory essays:
The first gives a specific social and historical context that helps
readers make sense of the plays, the second positions hip hop as a
contemporary literary form and offers some ways to read hip hop
texts as literature. The collection also includes a foreword by
leading hip hop theatre practitioner Jonzi D, interviews with the
Beats & Elements company, and a glossary of words for students
and international readers.
Mapplethorpe and the Flower: Radical Sexuality and the Limits of
Control is the first dedicated book-length critical study of the
late artist Robert Mapplethorpe's flower photographs. The book is
an interdisciplinary investigation into the symbolism of the flower
as envisioned by a photographer whose production was mired in
controversy - triggered in large part by his thematic exploration
of radical sexuality and queer subcultural life. Mapplethorpe came
into international prominence due to the public response to his
polarizing retrospective exhibition, The Perfect Moment
(1989-1990), a ground breaking collection of images exploring three
largely traditional genres of photography: the still life, the
portrait, and the human figure. If there is one characteristic that
unifies the artist's approach to these genres, however, it is his
meticulous attention to the materiality of the photograph as
object. Mapplethorpe was a dedicated formalist, committed to
locating what is most beautiful about his chosen subject-producing
work under carefully controlled studio conditions that enabled the
development of a unique and singular aesthetic vision. Bearing this
in mind, Mapplethorpe and the Flower is dedicated to unpacking how
the artist's unique brand of formal sophistication and discipline,
combined with his conceptual bravado, interpenetrates all of his
photographs - and reaches its formal and conceptual maturation in
his flower images. There has been significant critical attention
paid to the artist's more notorious photographs, namely the S&M
imagery, and his now infamous persona as provocateur and sexual
renegade. Fixation on this dimension of the artist's mythology
overshadows the formal details and interlocking representational
and political commitments crosscutting the artist's oeuvre.
Mapplethorpe and the Flower is a recuperative effort: one that
seeks to locate persistent threads running through the artist's
seemingly disparate aesthetic and conceptual investigations.
What impact do sexual politics and queer identities have on the
understanding of 'blackness' as a set of visual, cultural and
intellectual concerns? In Queering Post-Black Art, Derek Conrad
Murray argues that the rise of female, gay and lesbian artists as
legitimate African-American creative voices is essential to the
development of black art. He considers iconic works by artists
including Glenn Ligon, Kehinde Wiley, Mickalene Thomas and Kalup
Linzy, which question whether it is possible for blackness to evade
its ideologically over-determined cultural legibility. In their own
unique, often satirical way, a new generation of contemporary
African American artists represent the ever-evolving sexual and
gender politics that have come to define the highly controversial
notion of 'post-black' art. First coined in 2001, the term
'post-black' resonated because it articulated the frustrations of
young African-American artists around notions of identity and
belonging that they perceived to be stifling, reductive and
exclusionary. Since then, these artists have begun to conceive an
idea of blackness that is beyond marginalization and sexual
discrimination.
Vast tracts of criticism have been devoted to Robert Mapplethorpe's
infamous persona as a sexual outlaw and to his more notorious
photographs, especially his S and M imagery. In Mapplethorpe and
the Flower, Derek Conrad Murray refocuses this critical gaze and
produces the first book-length examination of the artist's flower
photographs. Mapplethorpe was a dedicated and disciplined
formalist, who was committed to identifying what was most beautiful
about his subject and whose precise and controlled photography
belied his permissive public image. In this book, Murray offers the
exciting interpretation that the flower images represent the apogee
of Mapplethorpe's marriage of formal sophistication with his own
conceptual bravado. He thus allows for a provocative new reading of
this fascinating artist, which challenges the myth that has grown
around him.
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