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If, advised essayist and critic William Hazlitt, we wish to know
the force of human genius we should read Shakespeare. For if anyone
profoundly understood the human condition in all its forms, it was
he. Lovably drunken rogues, dysfunctional kings, cowardly preening
braggarts, to nobly inspiring heroes. The remarkable series of
plays engaged in under The Regal Throne moves from high political
intrigue to lowlife bar-room badinage. From self-indulgent regal
decline to elevated and inspirational kingly valour. From
adolescent delinquency and father-son tensions to exaltedly noble
redemption. The playwright launches us on our journey with the
narcissistic Richard, rapidly sowing seeds of his own decline with
his callously imperious behaviour. And the ruthlessly astute
Bolingbroke returning from his banishment to take the sovereigns
Crown and then his life. But Bolingbroke as Henry IV has little
chance to enjoy his prize. For his tyranny breeds rebellion.
Meanwhile in Cheapside, (and to his fathers chagrin), the future
Henry V, as adolescent Prince Hal, disports himself in seedy
taverns amongst a gallery of Hogarthian lowlifes (including the
comedic heavyweight Falstaff), while quietly planning a shrewdly
redemptive personal remake as the exemplary war hero, Henry V. A
rich tapestry indeed. But whilst Shakespeares early modern English
is reasonably understandable, many words and references arent. For
slang is constantly shape-shifting. And, particularly with
Shakespeares bar-room banter its helpful to know just what the
characters are saying to and about each other. The author explains
each scene of all four plays in detail with copious quotations from
Shakespeares text throughout and substantial hypertext explanatory
notes. The Regal Throne is an invaluable companion for all who set
sail on this vibrant Shakespearean voyage into power, politics, and
ribaldry.
The Animation Studies Reader brings together both key writings
within animation studies and new material in emerging areas of the
field. The collection provides readers with seminal texts that
ground animation studies within the contexts of theory and
aesthetics, form and genre, and issues of representation. The first
section collates key readings on animation theory, on how we might
conceptualise animation, and on some of the fundamental qualities
of animation. New material is also introduced in this section
specifically addressing questions raised by the nature, style and
materiality of animation. The second section outlines some of the
main forms that animation takes, which includes discussions of
genre. Although this section cannot be exhaustive, the material
chosen is particularly useful as it provides samples of analysis
that can illuminate some of the issues the first section of the
book raises. The third section focuses on issues of representation
and how the medium of animation might have an impact on how bodies,
gender, sexuality, race and ethnicity are represented. These
representations can only be read through an understanding of the
questions that the first two sections of the book raise; we can
only decode these representations if we take into account form and
genre, and theoretical conceptualisations such as visual pleasure,
spectacle, the uncanny, realism etc.
This book is available as open access through the Bloomsbury Open
Access programme and is available on www.bloomsburycollections.com.
Animator Norman McLaren is best known for his experimental films
using pioneering techniques and his work as founder of the
animation department of the National Film Board of Canada (NFB),
but little mention is made of his Scottish heritage or his personal
life. Nichola Dobson examines some of the key events and people in
his life through a close examination of his key works and his
personal papers, and discusses how influential they were. By using
archive material to discover his personal identity and close
readings of his films, Norman McLaren rediscovers one of the most
important figures in animation history. Divided into thematic
chapters of significant areas of influence, Dobson analyzes his
formative years growing up in Scotland and his relationship with
fellow Scot, John Grierson; the international travel which
influenced him politically and creatively; the creative arts which
played a vital part of his life; his collaborations with other
artists and his complex, and rarely discussed, personal life. Each
of these chapters considers his key films during those periods with
a close detailed analysis and a further examination of his life
through his correspondence with family and close friends. By
featuring this previously un-published material, the book allows
much of the consideration of the work to be in McLaren's own words
and offers a deep insight into his vast output of films over nearly
50 years.
This book is available as open access through the Bloomsbury Open
Access programme and is available on www.bloomsburycollections.com.
Animator Norman McLaren is best known for his experimental films
using pioneering techniques and his work as founder of the
animation department of the National Film Board of Canada (NFB),
but little mention is made of his Scottish heritage or his personal
life. Nichola Dobson examines some of the key events and people in
his life through a close examination of his key works and his
personal papers, and discusses how influential they were. By using
archive material to discover his personal identity and close
readings of his films, Norman McLaren rediscovers one of the most
important figures in animation history. Divided into thematic
chapters of significant areas of influence, Dobson analyzes his
formative years growing up in Scotland and his relationship with
fellow Scot, John Grierson; the international travel which
influenced him politically and creatively; the creative arts which
played a vital part of his life; his collaborations with other
artists and his complex, and rarely discussed, personal life. Each
of these chapters considers his key films during those periods with
a close detailed analysis and a further examination of his life
through his correspondence with family and close friends. By
featuring this previously un-published material, the book allows
much of the consideration of the work to be in McLaren's own words
and offers a deep insight into his vast output of films over nearly
50 years.
Historical Dictionary of Animation and Cartoons is intended to
provide an overview of the animation industry and its historical
development. The animation industry has been in existence as long
(some would argue longer) than cinema, yet it has had less exposure
in terms of the discourse of moving-image history. This book
introduces animation by considering the various definitions that
have been used to describe it over the years. A different
perception of animation by producers and consumers has affected how
the industry developed and changed over the past hundred years.
This second edition of Historical Dictionary of Animation and
Cartoons contains a chronology, an introduction, and an extensive
bibliography. The dictionary section has over 300 cross-referenced
entries on animators, directors, studios, techniques, films, and
some of the best-known characters. This book is an excellent
resource for students, researchers, and anyone wanting to know more
about animation and cartoons.
The Animation Studies Reader brings together both key writings
within animation studies and new material in emerging areas of the
field. The collection provides readers with seminal texts that
ground animation studies within the contexts of theory and
aesthetics, form and genre, and issues of representation. The first
section collates key readings on animation theory, on how we might
conceptualise animation, and on some of the fundamental qualities
of animation. New material is also introduced in this section
specifically addressing questions raised by the nature, style and
materiality of animation. The second section outlines some of the
main forms that animation takes, which includes discussions of
genre. Although this section cannot be exhaustive, the material
chosen is particularly useful as it provides samples of analysis
that can illuminate some of the issues the first section of the
book raises. The third section focuses on issues of representation
and how the medium of animation might have an impact on how bodies,
gender, sexuality, race and ethnicity are represented. These
representations can only be read through an understanding of the
questions that the first two sections of the book raise; we can
only decode these representations if we take into account form and
genre, and theoretical conceptualisations such as visual pleasure,
spectacle, the uncanny, realism etc.
CSI has been heralded in many spheres of public discourse as a
televisual revolution, its effects on the public unprecedented. The
CSI Effect: Television, Crime, and Governance demonstrates that
CSI's appeal cannot be disentangled from either its production as a
televisual text or the broader discourses and practices that
circulate within our social landscape. This interdisciplinary
collection bridges the gap between the study of media, particularly
popular culture media, and the study of crime. The contributors
consider the points of intersection between these very different
realms of scholarship and in so doing foster the development of a
new set of theoretical languages in which the mediated spectacle of
crime and criminalization can be carefully considered. This timely
and groundbreaking volume is bound to intrigue both scholars and
CSI enthusiasts alike.
CSI has been heralded in many spheres of public discourse as a
televisual revolution, its effects on the public unprecedented. The
CSI Effect: Television, Crime, and Governance demonstrates that
CSI's appeal cannot be disentangled from either its production as a
televisual text or the broader discourses and practices that
circulate within our social landscape. This interdisciplinary
collection bridges the gap between the study of media, particularly
popular culture media, and the study of crime. The contributors
consider the points of intersection between these very different
realms of scholarship and in so doing foster the development of a
new set of theoretical languages in which the mediated spectacle of
crime and criminalization can be carefully considered. This timely
and groundbreaking volume is bound to intrigue both scholars and
CSI enthusiasts alike.
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Animation (Hardcover)
Nichola Dobson, Paul Ward
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R2,075
R1,750
Discovery Miles 17 500
Save R325 (16%)
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Out of stock
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