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This study provides an authoritative overview of all Marlowe's
work. It includes thorough investigations of his major plays,
Tamburlaine, Edward II, The Jew of Malta and Doctor Faustus as well
as a full discussion of The Massacre at Paris, Dido Queen of
Carthage and all his extant poetry. Analysis of Faustus takes full
account of both A and B text versions. Thoroughly researched and
yet presented in an accessible, engaging style, A Preface to
Marlowe reads Marlowe's life and times, as well as his work, in the
light of current critical theory. Consequently, it is a vital guide
for all students of early modern drama. As well as providing sharp
analysis of stage history, Dr Simkin reflects on the wider
significance of a stage-oriented approach. The result is a reading
of Marlowe that re-opens debates about his status as a radical
figure and as a subversive playwright and invites the reader to
experience the plays as immediate, exciting, 'live' documents.
This study provides an authoritative overview of all Marlowe's
work. It includes thorough investigations of his major plays,
Tamburlaine, Edward II, The Jew of Malta and Doctor Faustus as well
as a full discussion of The Massacre at Paris, Dido Queen of
Carthage and all his extant poetry. Analysis of Faustus takes full
account of both A and B text versions. Thoroughly researched and
yet presented in an accessible, engaging style, A Preface to
Marlowe reads Marlowe's life and times, as well as his work, in the
light of current critical theory. Consequently, it is a vital guide
for all students of early modern drama. As well as providing sharp
analysis of stage history, Dr Simkin reflects on the wider
significance of a stage-oriented approach. The result is a reading
of Marlowe that re-opens debates about his status as a radical
figure and as a subversive playwright and invites the reader to
experience the plays as immediate, exciting, 'live' documents.
How do you define success? If you let somebody else define what
success is, you re a sucker. I m no sucker. Chuck Prophet started
out as a post-punk California kid who helped kick-start the
alt-country genre when he joined Dan Stuart s Green On Red, then
making a name for themselves as part of the so-called Paisley
Underground alongside bands like The Dream Syndicate and The
Bangles. While Green On Red established a reputation for
self-destruction illuminated by flashes of brilliance in the studio
and on festival stages around Europe in the late 1980s, Prophet
simultaneously immersed himself in roots music and forged a solo
career via backroom and basement venues across his adopted home of
San Francisco. He has emerged as one of the most respected
musicians of his generation, admired for his talents as a
songwriter, guitarist, vocalist, and live performer. He has worked
with the likes of Tony Visconti and Warren Zevon, and his songs
have been performed by artists as diverse as Bruce Springsteen and
Solomon Burke. Those who know him through his social-media presence
or his live shows are well aware that no one tells a story quite
like Chuck Prophet; here, his voice rings clearly from the first
page to the last as he gives his perspective on writing, recording,
and performing, and talks candidly about his struggles and
remarkable recovery from years of addiction. As Prophet s official
archivist, author Stevie Simkin draws on over a hundred hours of
interviews with his subject as well as contributions from fellow
musicians, producers, friends, and associates, and unique access to
unreleased songs and live recordings and scores of previously
unseen photographs. Time and again, Simkin puts the reader in the
room with Chuck as he talks, or in the studio as he plays, and the
live experience is captured from both sides of the stage monitors.
An exciting rock n roll odyssey, What Makes The Monkey Dance is
essential reading for every fan of this phenomenal artist, but also
for anyone with an interest in alternative music during a period
seismic change, offering a fascinating portrait of how a true
artist has managed to carve out a career at the sharp end of a
notoriously ruthless industry.
This latest book in the Controversies series is the first in-depth
study of Basic Instinct (1992). Basic Instinct was one of the
earliest mainstream 'erotic thrillers' - a film which significantly
shifted the boundaries for graphic representations of sex in the
Hollywood mainstream. Basic Instinct remains a significant
milestone in terms of censorship and wider controversies. In his
fascinating study of the film, Stevie Simkin explains how the Basic
Instinct is also remarkable for stirring up a 'grass roots' form of
censorship that has become more widespread in the twenty years that
have followed its release. The unrest that Basic Instinct sparked
in the gay and lesbian communities in the US, as well as amongst
feminists, was unprecedented at the time. After the screenplay was
leaked to the public, pressure groups - incensed by what they
characterised as the script's homophobia - first lobbied the
production company, director and writer for script changes, and
then staged protests during the making of the film, continuing with
demonstrations outside movie theatres when it opened.
This study considers the social and cultural context in which Basic
Instinct was made. It includes a detailed examination of all stages
of the production, certification, distribution and reception of the
film, the nature of the objections and protests by GLAAD and other
pressure groups, and critical responses to the film. It also offers
a number of readings of the film, chiefly in terms of its
representation of a 'transgressive' female protagonist, and its
representation of bisexuality and a close analysis of key scenes,
with comparison of the cuts made to different versions released in
the UK and the US, for theatrical release and for home video, and
for TV broadcast. It concludes by considering the longer term
impact of Basic Instinct, focusing on representations of
lesbianism/bisexuality, sex and violence, and the erotic thriller
genre's place in relation to boundaries of censorship and
classification.
Sam Peckinpah's Straw Dogs ignited fierce debate among censors,
critics and audiences on both sides of the Atlantic on its release
in 1971. When Amy (Susan George) returns to her home village with
her American peacenik husband David (Dustin Hoffman), the residents
of this tight-knit Cornish community slowly turn on them. The
sexual tension and latent violence finally erupt in an explosion of
violence that includes a rape scene that has remained controversial
to this day. The film was heavily cut for theatrical release in the
US, and the pressinspired furore in the UK led to several local
councils cutting or banning it outright. Later, caught in the wake
of the 'video nasties' panic of the 1980s, Straw Dogs was refused a
home-video certificate in the UK for nearly twenty years. Stevie
Simkin's study sheds light on the film's treatment by the British
Board of Film Classification (BBFC) and tracks its subsequent
tortuous journey towards home-video release, buffeted by various
shifts in the BBFC's policy on representations of sexual violence.
But, equally importantly, Simkin provides a highly original
accountof themaking of the film, drawing on extensive research in
Peckinpah's archive, including analysis of draft scripts, notes,
memos and contemporary press items, as well as insights from a
number of Peckinpah's associates, and key figures at the BBFC. 'A
swift, compelling read. Thorough and scholarly without the faintest
whiff of academic stuffiness, Stevie Simkin's study of Straw Dogs
summons up the turmoil of the 1960s and 70s and illuminates the
highly charged subject of sexual violence on film.' Stephen Farber,
Film Critic, The Hollywood Reporter Stevie Simkin is Reader in
Drama and Film at the University of Winchester, UK. He is the
author of, among other works, Revenge Tragedy: A New Casebook
(2001), Early Modern Tragedy and the Cinema of Violence (2005),
and, also in the Controversies series, a volume on Basic Instinct
(forthcoming, 2013).
Revenge has been an issue in all societies from ancient times to
the present day. In western culture, the revenge plot has been one
of the linchpins of narrative structure, it is central to much
Greek tragedy and was immensely popular in Elizabethan and Jacobean
theatres. In this volume Stevie Simkin has collected essays on five
plays which are representative of this genre: The Spanish Tragedy,
The Revenger's Tragedy, The Changeling, The White Devil and 'Tis
Pity She's A Whore. These plays are a rich source of ideas about
Renaissance society and politics; recurrent issues include
sexuality, the complex relations of gender and power, and the
relationship between the individual and the state. The collection
as a whole demonstrates a variety of recent critical approaches to
the genre, including feminist, psychoanalytic, new historicist and
cultural materialist viewpoints, inspiring students to revisit
these plays and to engage directly with the politics of the past
and present, and the ways in which they interrelate.
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