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In the early 1980s, Walt Disney Productions was struggling, largely
bolstered by the success of its theme parks. Within fifteen years,
however, it had become one of the most powerful entertainment
conglomerates in the world. Staging a Comeback: Broadway,
Hollywood, and the Disney Renaissance argues that far from an
executive feat, this impressive turnaround was accomplished in no
small part by the storytellers recruited during this period.
Drawing from archival research, interviews, and textual analysis,
Peter C. Kunze examines how the hiring of theatrically trained
talent into managerial and production positions reorganized the
lagging animation division and revitalized its output. By Aladdin,
it was clear that animation—not live action—was the center of a
veritable “renaissance” at Disney, and the animated musicals
driving this revival laid the groundwork for the company’s growth
into Broadway theatrical production. The Disney Renaissance not
only reinvigorated the Walt Disney Company but both reflects and
influenced changes in Broadway and Hollywood more broadly.
In the early 1980s, Walt Disney Productions was struggling, largely
bolstered by the success of its theme parks. Within fifteen years,
however, it had become one of the most powerful entertainment
conglomerates in the world. Staging a Comeback: Broadway,
Hollywood, and the Disney Renaissance argues that far from an
executive feat, this impressive turnaround was accomplished in no
small part by the storytellers recruited during this period.
Drawing from archival research, interviews, and textual analysis,
Peter C. Kunze examines how the hiring of theatrically trained
talent into managerial and production positions reorganized the
lagging animation division and revitalized its output. By Aladdin,
it was clear that animation—not live action—was the center of a
veritable “renaissance” at Disney, and the animated musicals
driving this revival laid the groundwork for the company’s growth
into Broadway theatrical production. The Disney Renaissance not
only reinvigorated the Walt Disney Company but both reflects and
influenced changes in Broadway and Hollywood more broadly.
This edited collection assesses the complex historical and
contemporary relationships between US and Australian cinema by
tapping directly into discussions of national cinema,
transnationalism and global Hollywood. While most equivalent
studies aim to define national cinema as independent from or in
competition with Hollywood, this collection explores a more porous
set of relationships through the varied production, distribution
and exhibition associations between Australia and the US. To
explore this idea, the book investigates the influence that
Australia has had on US cinema through the exportation of its
stars, directors and other production personnel to Hollywood, while
also charting the sustained influence of US cinema on Australia
over the last hundred years. It takes two key points in time-the
1920s and 1930s and the last twenty years-to explore how particular
patterns of localism, nationalism, colonialism, transnationalism
and globalisation have shaped its course over the last century. The
contributors re-examine the concept and definition of Australian
cinema in regard to a range of local, international and global
practices and trends that blur neat categorisations of national
cinema. Although this concentration on US production, or influence,
is particularly acute in relation to developments such as the
opening of international film studios in Melbourne, Sydney,
Adelaide and the Gold Coast over the last thirty years, the book
also examines a range of Hollywood financed and/or conceived films
shot in Australia since the 1920s.
This edited collection assesses the complex historical and
contemporary relationships between US and Australian cinema by
tapping directly into discussions of national cinema,
transnationalism and global Hollywood. While most equivalent
studies aim to define national cinema as independent from or in
competition with Hollywood, this collection explores a more porous
set of relationships through the varied production, distribution
and exhibition associations between Australia and the US. To
explore this idea, the book investigates the influence that
Australia has had on US cinema through the exportation of its
stars, directors and other production personnel to Hollywood, while
also charting the sustained influence of US cinema on Australia
over the last hundred years. It takes two key points in time-the
1920s and 1930s and the last twenty years-to explore how particular
patterns of localism, nationalism, colonialism, transnationalism
and globalisation have shaped its course over the last century. The
contributors re-examine the concept and definition of Australian
cinema in regard to a range of local, international and global
practices and trends that blur neat categorisations of national
cinema. Although this concentration on US production, or influence,
is particularly acute in relation to developments such as the
opening of international film studios in Melbourne, Sydney,
Adelaide and the Gold Coast over the last thirty years, the book
also examines a range of Hollywood financed and/or conceived films
shot in Australia since the 1920s.
The definitions of fatherhood have shifted in the twenty-first
century as paternal subjectivities, conflicts, and desires have
registered in new ways in the contemporary family. This collection
investigates these sites of change through various lenses from
popular culture - film, television, blogs, best-selling fiction and
non-fiction, stand-up comedy routines, advertisements, newspaper
articles, parenting guide-books, and video games. Treating
constructions of the father at the nexus of patriarchy, gender, and
(post)feminist philosophy, contributors analyze how fatherhood is
defined in relation to masculinity and femininity, and the shifting
structures of the heteronormative nuclear family. Perceptions of
the father as the traditional breadwinner and authoritarian as
compared to a more engaged and involved nurturer are considered via
representations of fathers from the US, Canada, Britain, Australia,
South Africa, and Sweden.
Stand-up comedians have a long history of walking a careful line
between serious and playful engagement with social issues: Lenny
Bruce questioned the symbolic valence of racial slurs, Dick Gregory
took time away from the stage to speak alongside Martin Luther King
Jr., and-more recently-Tig Notaro challenged popular notions of
damaged or abject bodies. Stand-up comedians deploy humor to open
up difficult topics for broader examination, which only underscores
the social and cultural importance of their work. Taking a Stand:
Contemporary US Stand-Up Comedians as Public Intellectuals draws
together essays that contribute to the analysis of the
stand-up-comedian-as-public intellectual since the 1980s. The
chapters explore stand-up comedians as contributors to and shapers
of public discourse via their live performances, podcasts, social
media presence, and political activism. Each chapter highlights a
stand-up comedian and their ongoing discussion of a cultural issue
or expression of a political ideology/standpoint: Lisa Lampanelli's
use of problematic postracial humor, Aziz Ansari's merging of
sociology and technology, or Maria Bamford's emphasis on mental
health, to name just a few. Taking a Stand offers a starting point
for understanding the work stand-up comedians do as well as its
reach beyond the stage. Comedians influence discourse,
perspectives, even public policy on myriad issues, and this book
sets out to take those jokes seriously. Contributions by Jared N.
Champion, Miriam M. Chirico, Thomas Clark, David R. Dewberry,
Christopher J. Gilbert, David Gillota, Kathryn Kein, Rob King,
Rebecca Krefting, Peter C. Kunze, Linda Mizejewski, Aviva
Orenstein, Raul Perez, Philip Scepanski, Susan Seizer, Monique
Taylor, Ila Tyagi, and Timothy J. Viator.
Stand-up comedians have a long history of walking a careful line
between serious and playful engagement with social issues: Lenny
Bruce questioned the symbolic valence of racial slurs, Dick Gregory
took time away from the stage to speak alongside Martin Luther King
Jr., and-more recently-Tig Notaro challenged popular notions of
damaged or abject bodies. Stand-up comedians deploy humor to open
up difficult topics for broader examination, which only underscores
the social and cultural importance of their work. Taking a Stand:
Contemporary US Stand-Up Comedians as Public Intellectuals draws
together essays that contribute to the analysis of the
stand-up-comedian-as-public intellectual since the 1980s. The
chapters explore stand-up comedians as contributors to and shapers
of public discourse via their live performances, podcasts, social
media presence, and political activism. Each chapter highlights a
stand-up comedian and their ongoing discussion of a cultural issue
or expression of a political ideology/standpoint: Lisa Lampanelli's
use of problematic postracial humor, Aziz Ansari's merging of
sociology and technology, or Maria Bamford's emphasis on mental
health, to name just a few. Taking a Stand offers a starting point
for understanding the work stand-up comedians do as well as its
reach beyond the stage. Comedians influence discourse,
perspectives, even public policy on myriad issues, and this book
sets out to take those jokes seriously. Contributions by Jared N.
Champion, Miriam M. Chirico, Thomas Clark, David R. Dewberry,
Christopher J. Gilbert, David Gillota, Kathryn Kein, Rob King,
Rebecca Krefting, Peter C. Kunze, Linda Mizejewski, Aviva
Orenstein, Raul Perez, Philip Scepanski, Susan Seizer, Monique
Taylor, Ila Tyagi, and Timothy J. Viator.
Maurice Sendak (1928-2012) stands out as one of the most respected,
influential authors of the twentieth century. Though primarily
known as a children's book writer and illustrator, he did not limit
himself to these areas. He saw himself first and foremost as an
artist. In this collection of interviews, Sendak presents himself
as a writer, illustrator, set designer, and librettist. From his
early work with Randall Jarrell and Ruth Krauss through his later
work with Tony Kushner and Spike Jonze, Sendak worked as a
collaborator with a passion for the arts. The interviews here, many
of which are hard to find or previously unpublished, span from 1966
through 2011. They show not only Sendak's shifting artistic
interests, but also changes in how he understood himself and his
craft. What emerges is a portrait of an author and an artist who
was alternately solemn and playful, congenial and irascible,
sophisticated and populist. The man who showed millions of children
and adults alike what's cooking in the night kitchen and where the
wild things are, Sendak remains an American original who redefined
the picture book and changed children's literature-and its
readers-forever.
Maurice Sendak (1928-2012) stands out as one of the most respected,
influential authors of the twentieth century. Though primarily
known as a children's book writer and illustrator, he did not limit
himself to these areas. He saw himself first and foremost as an
artist. In this collection of interviews - the first of its kind -
Sendak presents himself as a writer, illustrator, set designer, and
librettist. From his early work with Randall Jarrell and Ruth
Krauss through his later work with Tony Kushner and Spike Jonze,
Sendak worked as a collaborator with a passion for the arts. The
interviews here, many of which are hard to find or previously
unpublished, span from 1966 through 2011. They show not only
Sendak's shifting artistic interests, but also changes in how he
understood himself and his craft. What emerges is a portrait of an
author and an artist who was alternately solemn and playful,
congenial and irascible, sophisticated and populist. The man who
showed millions of children and adults alike what's cooking in the
night kitchen and where the wild things are, Sendak remains an
American original who redefined the picture book and changed
children's literature - and its readers - forever.
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