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Authentic™ Cover

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Authentic™

The Politics of Ambivalence in a Brand Culture

Sarah Banet-Weiser

Brands are everywhere. Branding is central to political campaigns and political protest movements; the alchemy of social media and self-branding creates overnight celebrities; the self-proclaimed “greening” of institutions and merchant goods is nearly universal. But while the practice of branding is typically understood as a tool of marketing, a method of attaching social meaning to a commodity as a way to make it more personally resonant with consumers, Sarah Banet-Weiser argues that in the contemporary era, brands are about culture as much as they are about economics. That, in fact, we live in a brand culture.
 
Authentic™ maintains that branding has extended beyond a business model to become both reliant on, and reflective of, our most basic social and cultural relations. Further, these types of brand relationships have become cultural contexts for everyday living, individual identity, and personal relationships—what Banet-Weiser refers to as “brand cultures.” Distinct brand cultures, that at times overlap and compete with each other, are taken up in each chapter: the normalization of a feminized “self-brand” in social media, the brand culture of street art in urban spaces, religious brand cultures such as “New Age Spirituality” and “Prosperity Christianity,”and the culture of green branding and “shopping for change.”
 
In a culture where graffiti artists loan their visions to both subway walls and department stores, buying a cup of “fair-trade” coffee is a political statement, and religion is mass-marketed on t-shirts, Banet-Weiser questions the distinction between what we understand as the “authentic” and branding practices. But brand cultures are also contradictory and potentially rife with unexpected possibilities, leading Authentic™ to articulate a politics of ambivalence, creating a lens through which we can see potential political possibilities within the new consumerism.

Authorship in Film Adaptation Cover

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Authorship in Film Adaptation

Edited with an introduction by Jack Boozer

Authoring a film adaptation of a literary source not only requires a media conversion but also a transformation as a result of the differing dramatic demands of cinema. The most critical central step in this transformation of a literary source to the screen is the writing of the screenplay. The screenplay usually serves to recruit producers, director, and actors; to attract capital investment; and to give focus to the conception and production of the film project. Often undergoing multiple revisions prior to production, the screenplay represents the crucial decisions of writer and director that will determine how and to what end the film will imitate or depart from its original source. Authorship in Film Adaptation is an accessible, provocative text that opens up new areas of discussion on the central process of adaptation surrounding the screenplay and screenwriter-director collaboration. In contrast to narrow binary comparisons of literary source text and film, the twelve essays in this collection also give attention to the underappreciated role of the screenplay and film pre-production that can signal the primary intention for a film. Divided into four parts, this collection looks first at the role of Hollywood's activist producers and major auteurs such as Hitchcock and Kubrick as they worked with screenwriters to formulate their audio-visual goals. The second part offers case studies of Devil in a Blue Dress and The Sweet Hereafter, for which the directors wrote their own adapted screenplays. Considering the variety of writer-director working relationships that are possible, Part III focuses on adaptations that alter genre, time, and place, and Part IV investigates adaptations that alter stories of romance, sexuality, and ethnicity.

The Autobiographical Documentary in America Cover

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The Autobiographical Documentary in America

Jim Lane

Since the late 1960s, American film and video makers of all genres have been fascinated with themes of self and identity. Though the documentary form is most often used to capture the lives of others, Jim Lane turns his lens on those media makers who document their own lives and identities. He looks at the ways in which autobiographical documentaries—including Roger and Me, Sherman’s March, and Silverlake Life—raise weighty questions about American cultural life. What is the role of women in society? What does it mean to die from AIDS? How do race and class play out in our personal lives? What does it mean to be a member of a family? Examining the history, diversity, and theoretical underpinnings of this increasingly popular documentary form, Lane tracks a fundamental transformation of notions of both autobiography and documentary.

The Avant-Garde and the Popular in China Cover

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The Avant-Garde and the Popular in China

Tian Han and the Intersection of Performance and Politics

Liang Luo

The B Word Cover

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The B Word

Bisexuality in Contemporary Film and Television

Maria San Filippo

Often disguised in public discourse by terms like "gay," "homoerotic," "homosocial," or "queer," bisexuality is strangely absent from queer studies and virtually untreated in film and media criticism. Maria San Filippo aims to explore the central role bisexuality plays in contemporary screen culture, establishing its importance in representation, marketing, and spectatorship. By examining a variety of media genres including art cinema, sexploitation cinema and vampire films, "bromances," and series television, San Filippo discovers "missed moments" where bisexual readings of these texts reveal a more malleable notion of subjectivity and eroticism. San Filippo's work moves beyond the subject of heteronormativity and responds to "compulsory monosexuality," where it's not necessarily a couple's gender that is at issue, but rather that an individual chooses one or the other. The B Word transcends dominant relational formation (gay, straight, or otherwise) and brings a discursive voice to the field of queer and film studies.

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Baad Bitches and Sassy Supermamas

Black Power Action Films

Stephane Dunn

This lively study unpacks the intersecting racial, sexual, and gender politics underlying the representations of racialized bodies, masculinities, and femininities in early 1970s black action films, with particular focus on black femininity. While low-budget blaxploitation films typically portrayed black women as trifling "bitches" compared to the supermacho black male heroes, the terms "baad bitches" and "sassy supermamas" signal the emergence of films featuring self-assured, empowered, and tough (or "baad") black female protagonists: Cleopatra Jones, Coffy, and Foxy Brown. Stephane Dunn closely examines a distinct moment in the history of African American representation in popular cinema, tracing its influences from the Black Power movement and feminism.

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Backstory 5

Interviews with Screenwriters of the 1990s

Patrick McGilligan

Patrick McGilligan continues his celebrated interviews with exceptional screenwriters in Backstory 5, focusing on the 1990s. The thirteen featured writers—Albert Brooks, Jean-Claude Carrière, Nora Ephron, Ronald Harwood, John Hughes, David Koepp, Richard LaGravenese, Barry Levinson, Eric Roth, John Sayles, Tom Stoppard, Barbara Turner, and Rudy Wurlitzer—are not confined to the 1990s, but their engrossing, detailed, and richly personal stories create, in McGilligan’s words, "a snapshot of a profession in motion." Emphasizing the craft of writing and the process of collaboration, this new volume looks at how Hollywood is changing to meet new economic and creative challenges. Backstory 5 explores how these writers come up with their ideas, how they go about adapting a stage play or work of fiction, how they organize and structure their work, and much more.

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Balanchine the Teacher

Fundamentals That Shaped the First Generation of New York City Ballet Dancers

Barbara Walczak and Una Kai

Widely regarded as the foremost choreographer of contemporary ballet, George Balanchine was, and continues to be, an institution and major inspiration in the world of dance.

Balanchine the Teacher is a technical explanation of the stylistic approaches that he taught in New York City between 1940 and 1960, as recorded by two prominent dancers who studied with him at that time. This phenomenal resource replicates moments in the studio with the influential teacher, vividly and meticulously describing his instructions and corrections for twenty-four classes.

These lessons not only introduce Balanchine’s methods for executing steps but also discuss the organization and development of his classes, shedding light on the aesthetics of his unique and celebrated style of movement. This is an indispensable ballet resource and a must-read for dancers, musicians, researchers, and balletomanes.

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Ballet Pedagogy

The Art of Teaching

Rory Foster

There are many different methods for teaching classical ballet--Bournonville, Vaganova, Cecchetti, and Royal Academy of Dancing being the most widely known. All of these methods are effective tools for presenting the technique and art of ballet. Knowing how to use these tools successfully requires more than being a devotee of the technique; it also requires the mastering of various skills.

In Ballet Pedagogy, Rory Foster aims to share his extensive knowledge of how to teach rather than focus exclusively on what to teach. He argues that it is not enough for a ballet teacher to be well trained in technique, but that he or she must also know how to utilize pedagogical skills.

Designed as both a manual for beginning teachers as well as a reference for experienced instructors, Ballet Pedagogy is appropriate for either followers of a single methodology or for those who have adopted a more eclectic approach to technique. Foster believes that effective teaching skills--proper demonstration, counting, correcting, musicality, anatomical approach, etc.--do not come automatically just because one has trained as a dancer.

In this book, Foster--an expert in multiple ballet methods--covers all areas involving dance, from history to injury prevention, from anatomy and kinesiology to vocabulary and music. He even offers pragmatic advice on the business of starting a dance school. The result is an essential addition to every dance teacher's library.

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Barbara Stanwyck

The Miracle Woman

Dan Callahan

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