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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.
An Acting Family
" The Bennetts: An Acting Family is a chronicle of one of the royal families of stage and screen. The saga begins with Richard Bennett, a small-town Indiana roughneck who grew up to be one of the bright lights of the New York stage during the early twentieth century. In time, however, Richard’s fame was eclipsed by that of his daughters, Constance and Joan, who went to Hollywood in the 1920s and found major success there. Constance became the highest-paid actress of the early 1930s, earning as much as $30,000 a week in melodramas. Later she reinvented herself as a comedienne in the classic comedy Topper , with Cary Grant.. After a slow start as a blonde ingenue, Joan dyed her hair black and became one of the screen’s great temptresses in films such as Scarlet Street . She also starred in such lighter fare as Father of the Bride . In the 1960s, Joan gained a new generation of fans when she appeared in the gothic daytime television serial Dark Shadows . The Bennetts is also the story of another Bennett sister, Barbara, whose promising beginnings as a dancer gave way to a turbulent marriage to singer Morton Downey and a steady decline into alcoholism. Constance and Joan were among Hollywood’s biggest stars, but their personal lives were anything but serene. In 1943, Constance became entangled in a highly publicized court battle with the family of her millionaire ex-husband, and in 1951, Joan’s husband, producer Walter Wanger, shot her lover in broad daylight, sparking one of the biggest Hollywood scandals of the 1950s. Brian Kellow, features editor of Opera News magazine, is the coauthor of Can’t Help Singing: The Life of Eileen Farrell . He lives in New York and Connecticut.
Going to the Movies, 1945-1946
Best Years shines light on a critical juncture in American history and the history of American cinemaùthe end of World War II (1945) and a year of unprecedented success in Hollywood's "Golden Age" (1946). This unique time provides a rich blend of cinema genres and typesùfrom the battlefront to the home front, the peace film to the woman's film, psychological drama, and the period's provocative new style, film noir. This book focuses on films that were famous, infamous, forgotten, and unforgettable, with big budget A-films, road shows, and familiar series share the spotlight.
Remaking Literature Through Cinema and Cyberspace
Since the earlier twentieth century, literary genres have traveled across magnetic, wireless, and electronic planes. Literature may now be anything from acoustic poetry and oral performance to verbal--visual constellations in print and on screen, cinematic narratives, or electronic textualities that range from hypertext to Flash. New technologies have left their imprint on literature as a paper-based medium, and vice versa. This volume explores the interactions between literature and screenbased media over the past three decades. How has literature turned to screen, how have screens undone the tyranny of the page as a medium of literature, and how have screens affected the page in literary writing? This volume answers these questions by uniquely integrating perspectives from digital literary studies, on the one hand, and film and literature studies, on the other. "Page" and "screen" are familiar catchwords in both digital literary studies and film and literature studies. The contributors reassess literary practice at the edges of paper, electronic media, and film. They show how the emergence of a new medium in fact reinvigorates the book and the page as literary media, rather than signaling their impending death. While previous studies in this field have been restricted to the digitization of literature alone, this volume shows the continuing relevance of film as a cultural medium for contemporary literature. Its integrative approach allows readers to situate current shifts within the literary field in a wider, long-term perspective.