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Experimental Encounters with Art in the Making
A Passion for Cinema
American Humor and Its Discontents
In this examination of stand-up comedy, Rebecca Krefting establishes a new genre of comedic production, “charged humor,” and charts its pathways from production to consumption. Some jokes are tears in the fabric of our beliefs—they challenge myths about how fair and democratic our society is and the behaviors and practices we enact to maintain those fictions. Jokes loaded with vitriol and delivered with verve, charged humor compels audiences to action, artfully summoning political critique. Since the institutionalization of stand-up comedy as a distinct cultural form, stand-up comics have leveraged charged humor to reveal social, political, and economic stratifications. All Joking Aside offers a history of charged comedy from the mid-twentieth century to the early aughts, highlighting dozens of talented comics from Dick Gregory and Robin Tyler to Micia Mosely and Hari Kondabolu. The popularity of charged humor has waxed and waned over the past sixty years. Indeed, the history of charged humor is a tale of intrigue and subversion featuring dive bars, public remonstrations, fickle audiences, movie stars turned politicians, commercial airlines, emergent technologies, neoliberal mind-sets, and a cavalcade of comic misfits with an ax to grind. Along the way, Krefting explores the fault lines in the modern economy of humor, why men are perceived to be funnier than women, the perplexing popularity of modern-day minstrelsy, and the way identities are packaged and sold in the marketplace. Appealing to anyone interested in the politics of humor and generating implications for the study of any form of popular entertainment, this history reflects on why we make the choices we do and the collective power of our consumptive practices. Readers will be delighted by the broad array of comic talent spotlighted in this book, and for those interested in comedy with substance, it will offer an alternative punchline.
Reimagining Theater with Ten Thousand Things
Michelle Hensley, founder of Ten Thousand Things Theater in Minneapolis, shares more than twenty years of her company’s nationally unique work bringing professional theater to those in prisons, homeless shelters, adult education centers, and rural areas, as well as the general public. More than a chronological history, All the Lights On is also about the radiant power of theater. In this articulate and compelling book, Hensley distills what nontraditional audiences, along with the conditions her artists must perform under to reach them, have taught her about Brecht, the Greeks, Shakespeare, musicals, and the essence of what is necessary to make vibrant and essential theater. Her experiences lead her to conclude that theater artists become better and the art form itself much richer when everyone is included in the audience. In Ten Thousand Things productions, people from very different economic classes sit next to each other in the round and often experience unexpected connections with each other. Hensley writes in the introduction, “Not only do we have a chance to experience the multiple viewpoints of many characters in the play, but with all the lights on, we are able to consider the differing viewpoints of the other audience members seated around the circle. It all serves to increase, just a little, the radiance of our world.”
Aesthetics and Politics in Modern Brazilian Cinema
Experimental Film in Los Angeles, 1945-1980
Alternative Projections: Experimental Film in Los Angeles, 1945-1980 is a groundbreaking anthology that features papers from a conference and series of film screenings on postwar avant-garde filmmaking in Los Angeles sponsored by Filmforum, the Getty Foundation, and the University of Southern California’s School of Cinematic Arts, together with newly-commissioned essays, an account of the screening series, reprints of historical documents by and about experimental filmmakers in the region, and other rare photographs and ephemera. The resulting diverse and multi-voiced collection is of great importance, not simply for its relevance to Los Angeles, but also for its general discoveries and projections about alternative cinemas.
The Rise of North American Moviemaking, 1923-1960
From the very beginning of cinema, there have been amateur filmmakers at work. It wasn’t until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a widespread reality, and by the 1950s, over a million Americans had amateur movie cameras. In Amateur Cinema, Charles Tepperman explores the meaning of the "amateur" in film history and modern visual culture.
In the middle decades of the twentieth century—the period that saw Hollywood’s rise to dominance in the global film industry—a movement of amateur filmmakers created an alternative world of small-scale movie production and circulation. Organized amateur moviemaking was a significant phenomenon that spawned dozens of clubs and thousands of participants producing experimental, nonfiction, or short-subject narratives. Rooted in an examination of surviving films, this book traces the contexts of "advanced" amateur cinema and articulates the broad aesthetic and stylistic tendencies of amateur films.
The Work of NBC's Stockton Helffrich
In America's First Network TV Censor, Robert Pondillo uses the records of Stockton Helffrich, the first manager of the NBC censorship department, to look at significant subjects of early censorship and how Helffrich used censorship to promote positive changes in the early days of television in the 1940s and 1950s.