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Gay Rights Activism through the Media
Over the past decade, the controversial issue of gay marriage has emerged as a primary battle in the culture wars and a definitive social issue of our time. The subject moved to the forefront of mainstream public debate in 2004, when San Francisco Mayor Gavin Newsom began authorizing same-sex marriage licenses, and it has remained in the forefront through three presidential campaigns and numerous state ballot initiatives. In this thorough analysis, Leigh Moscowitz examines how prominent news outlets presented this issue from 2003 to 2012, a time when intense news coverage focused unprecedented attention on gay and lesbian life.
The Art and Argument of Ally McBeal
During its five-year run from 1997 to 2002, the popular TV show Ally McBeal engaged viewers in debates over what it means to be a woman or a man in the modern workplace; how romance factors into the therapeutic understanding of relationships; what value eccentricity has and how much oddity society should tolerate; and what utility fantasy has in the pragmatic world. In addition to these social concerns, however, Ally McBeal stood out for being well-constructed, narratively complex, and stylistically rich—in short, beautiful TV. Starting from the premise that much of television today is "drop-dead gorgeous" and that TV should be studied for its formal qualities as well as its social impact, Greg M. Smith analyzes Ally McBeal in terms of its aesthetic principles and narrative construction. He explores how Ally's innovative use of music, special effects, fantasy sequences, voiceovers, and flashbacks structures a distinctive fictional universe, while it also opens up new possibilities for televisual expression. Smith also discusses the complex narrative strategies that Ally's creator David E. Kelley used to develop a long-running storyline and shows how these serial narrative practices can help us understand a wide range of prime-time TV serials. By taking seriously the art and argument of Ally McBeal, Beautiful TV conclusively demonstrates that aesthetic and narrative analysis is an indispensable key for unlocking the richness of contemporary television.
Samuel Beckett is unique in literature. Born and educated in Ireland, he lived most of his life in Paris. His literary output was rendered in either English or French, and he often translated one to the other, but there is disagreement about the contents of his bilingual corpus. A Beckett Canon by renowned theater scholar Ruby Cohn offers an invaluable guide to the entire corpus, commenting on Beckett's work in its original language. Beginning in 1929 with Beckett's earliest work, the book examines the variety of genres in which he worked: poems, short stories, novels, plays, radio pieces, teleplays, reviews, and criticism. Cohn grapples with the difficulties in Beckett's work, including the opaque erudition of the early English verse and fiction, and the searching depths and syntactical ellipsis of the late works. Specialist and nonspecialist readers will find A Beckett Canon valuable for its remarkable inclusiveness. Cohn has examined the holdings of all of the major Beckett depositories, and is thus able to highlight neglected manuscripts and correct occasional errors in their listings. Intended as a resource to accompany the reading of Beckett's writing--in English or French, published or unpublished, in part or as a whole--the book offers context, information, and interpretation of the work of one of the last century's most important writers. Ruby Cohn is Professor Emerita of Comparative Drama, University of California, Davis. She is author or editor of many books, including Anglo-American Interplay in Recent Drama; Retreats from Realism in Recent English Drama; From Desire to Godot; and Just Play: Beckett's Theater.
Transversal Performance and Cultural Dissidence in Early Modern England
In this book Bryan Reynolds argues that early modern England experienced a sociocultural phenomenon, unprecedented in English history, which has been largely overlooked by historians and critics. Beginning in the 1520s, a distinct "criminal culture" of beggars, vagabonds, confidence tricksters, prostitutes, and gypsies emerged and flourished. This community defined itself through its criminal conduct and dissident thought and was, in turn,officially defined by and against the dominant conceptions of English cultural normality. Examining plays, popular pamphlets, laws, poems, and scholarly work from the period, Reynolds demonstrates that this criminal culture, though diverse, was united by its own ideology, language, and aesthetic. Using his transversal theory, he shows how the enduring presence of this criminal culture markedly influenced the mainstream culture's aesthetic sensibilities, socioeconomic organization, and systems of belief. He maps the effects of the public theater's transformative force of transversality, such as through the criminality represented by Shakespeare, Jonson, Middleton, and Dekker, on both Elizabethan and Jacobean society and the scholarship devoted to it.
Three Decades of Dance Writing
Early Video Game History
Following the first appearance of arcade video games in 1971 and home video game systems in 1972, the commercial video game market was exuberant with fast-paced innovation and profit. New games, gaming systems, and technologies flooded into the market until around 1983, when sales of home game systems dropped, thousands of arcades closed, and major video game makers suffered steep losses or left the market altogether. In Before the Crash: Early Video Game History, editor Mark J. P. Wolf assembles essays that examine the fleeting golden age of video games, an era sometimes overlooked for older games’ lack of availability or their perceived “primitiveness” when compared to contemporary video games. In twelve chapters, contributors consider much of what was going on during the pre-crash era: arcade games, home game consoles, home computer games, handheld games, and even early online games. The technologies of early video games are investigated, as well as the cultural context of the early period—from aesthetic, economic, industrial, and legal perspectives. Since the video game industry and culture got their start and found their form in this era, these years shaped much of what video games would come to be. This volume of early history, then, not only helps readers to understand the pre-crash era, but also reveals much about the present state of the industry. Before the Crash will give readers a thorough overview of the early days of video games along with a sense of the optimism, enthusiasm, and excitement of those times. Students and teachers of media studies will enjoy this compelling volume.
Scripting Modernity in Japanese Drama, 1900-1930
In the opening decades of the twentieth century in Japan, practically every major author wrote plays that were published and performed. The plays were seen not simply as the emergence of a new literary form but as a manifestation of modernity itself, transforming the stage into a site for the exploration of new ideas and ways of being. A Beggar’s Art is the first book in English to examine the full range of early twentieth-century Japanese drama. Accompanying his study, M. Cody Poulton provides his translations of representative one-act plays. Poulton looks at the emergence of drama as a modern literary and artistic form and chronicles the creation of modern Japanese drama as a reaction to both traditional (particularly kabuki) dramaturgy and European drama. Translations and productions of the latter became the model for the so-called New Theater (shingeki), where the question of how to be both modern and Japanese at the same time was hotly contested. Following introductory essays on the development of Japanese drama from the 1880s to the early 1930s, are translations of nine seminal one-act plays by nine dramatists, including two women, Okada Yachiyo and Hasegawa Shigure. The subject matter of these plays is that of modern drama everywhere: discord between men and women, between parents and children, and the resulting disintegration of marriages and families. Both the bourgeoisie and the proletariat make their appearances; modern pretensions are lampooned and modern predicaments lamented in equal measure. Realism (as evidenced in the plays of Kikuchi Kan and Tanaka Chikao) prevails as the mode of modernity, but other styles are presented: the symbolism of Izumi Kyoka, Suzuki Senzaburo’s brittle melodrama, Kubota Mantaro’s minimalistic lyricism, Akita Ujaku’s politically incisive expressionism, and even a proto-absurdist work by Japan’s master of prewar drama, Kishida Kunio. With its combination of new translations and informative and theoretically engaging essays, A Beggar’s Art will prove invaluable for students and researchers in world theater and Japanese studies, particularly those with an interest in modern Japanese literature and culture.
New Media and Cameroonian Transnational Sociality
The book investigates what have become of Cameroonian transnational family and friendship ties in the age of the mobile phone and the internet that make people readily available and reachable. Most theoretical literature states that these tools of sociality cement transnational social relationships through instantaneous interaction. To capture the different experiences and impressions on the significance of these media in easing communication for migrants and non-migrants, Tazanu draws on ethnographic accounts based on his fieldwork in Freiburg (Germany) and Buea (Cameroon). He argues that it is mainly the migrants who maintain or are expected to maintain ties with non-migrants back in Cameroon through calls and material support. The main finding of the study is that cell phones and the internet have facilitated discontents, grudges, insults, fights, avoidance, arguments and estrangement of relationships much more than they have contributed to binding friends or families through direct mediation. Underlying these aspects of distanciation are the high expectations and sometimes contradictory motives for instant virtual interaction. Non-migrantsí accounts suggest that direct availability and reachability should lead to uninterrupted transnational interaction and also that the cultural practices of remittances from migrants are easily requested and coordinated. Such motives are generally contrary to migrantsí wishes, willingness or ability to support friends and families in Cameroon. These unexpected outcomes arising from rapid speed of interaction questions the advantages that are often associated with instant sociality across space and time. The finding is a call for the cultural background and life-world experiences of media users to be taken into consideration when theorising the significance of information technology in the debate on media globalisation.
Life of a Hollywood Rebel
Hal Ashby (1929–1988) was always an outsider, and as a director he brought an outsider’s perspective to Hollywood cinema. After moving to California from a Mormon household in Utah, he created eccentric films that reflected the uncertain social climate of the 1970s. Whether it is his enduring cult classic Harold and Maude (1971) or the iconic Being There (1979), Ashby’s artistry is unmistakable. His skill for blending intense drama with off-kilter comedy attracted A-list actors and elicited powerful performances from Jack Nicholson in The Last Detail (1973), Warren Beatty and Julie Christie in Shampoo (1975), and Jon Voight and Jane Fonda in Coming Home (1979). Yet the man behind these films is still something of a mystery. In Being Hal Ashby: Life of a Hollywood Rebel, author Nick Dawson for the first time tells the story of a man whose thoughtful and challenging body of work continues to influence modern filmmakers and whose life was as dramatic and unconventional as his films. Ashby began his career as an editor, and it did not take long for his talents to be recognized. He won an Academy Award in 1967 for editing In the Heat of the Night and leveraged his success as an editor to pursue his true passion: directing. Crafting seminal films that steered clear of mainstream conventions yet attracted both popular and critical praise, Ashby became one of the quintessential directors of the 1970s New Hollywood movement. No matter how much success Ashby achieved, he was never able to escape the ghosts of his troubled childhood. The divorce of his parents, his father’s suicide, and his own marriage and divorce—all before the age of nineteen—led to a lifelong struggle with drugs for which he became infamous in Hollywood. And yet, contrary to mythology, it was not Ashby’s drug abuse that destroyed his career but a fundamental mismatch between the director and the stifling climate of 1980s studio filmmaking. Although his name may not be recognized by many of today’s filmgoers, Hal Ashby is certainly familiar to filmmakers. Despite his untimely death in 1988, his legacy of innovation and individuality continues to influence a generation of independent directors, including Wes Anderson, Sean Penn, and the Coen brothers, who place substance and style above the pursuit of box-office success. In this groundbreaking and exhaustively researched biography, Nick Dawson draws on firsthand interviews and personal papers from Ashby’s estate to offer an intimate look at the tumultuous life of an artist unwilling to conform or compromise.
Labor, Identity, and Hollywood Stardom
Who was Rita Hayworth? Born Margarita Carmen Cansino, she spent her life subjected to others' definitions of her, no matter how hard she worked to claim her own identity. Although there have been many "revelations" about her life and career, Adrienne McLean's book is the first to show that such disclosures were part of a constructed image from the outset. McLean explores Hayworth's participation in the creation of her star persona, particularly through her work as a dancer-a subject ignored by most film scholars. The passive love goddess, as it turns out, had a unique appeal to other women who, like her, found it extraordinarily difficult to negotiate the competing demands of family, domesticity, and professional work outside the home. Being Rita Hayworth also considers the ways in which the actress has been treated by film scholarship over the years to accomplish its own goals, sometimes at her expense.