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The Complete Film Criticism of Andrew Britton
For fifteen years before his untimely death, Andrew Britton produced a body of undeniably brilliant film criticism that has been largely ignored within academic circles. Though Britton’s writings are extraordinary in their depth and range and are closely attuned to the nuances of the texts they examine, his humanistic approach was at odds with typical theory-based film scholarship. Britton on Film demonstrates that Britton’s humanism is also his strength, as it presents all of his published writings together for the first time, including Britton’s persuasive readings of such important Hollywood films as Meet Me in St. Louis, Spellbound, and Now, Voyager and of key European filmmakers such as Sergei Eisenstein, Jean-Luc Godard, and Bernardo Bertolucci. Renowned film scholar and editor Barry Keith Grant has assembled all of Britton’s published essays of film criticism and theory for this volume, spanning the late 1970s to the early 1990s. The essays are arranged by theme: Hollywood cinema, Hollywood movies, European cinema, and film and cultural theory. In all, twenty-eight essays consider such varied films as Hitchcock’s Spellbound, Jaws, The Exorcist, and Mandingo and topics as diverse as formalism, camp, psychoanalysis, imperialism, and feminism. Included are such well-known and important pieces as “Blissing Out: The Politics of Reaganite Entertainment” and “Sideshows: Hollywood in Vietnam,” among the most perceptive discussions of these two periods of Hollywood history yet published. In addition, Britton’s critiques of the ideology of Screen and Wisconsin formalism display his uncommon grasp of theory even when arguing against prevailing critical trends. An introduction by influential film critic Robin Wood, who was also Britton’s teacher and friend, begins this landmark collection. Students and teachers of film studies as well as general readers interested in film and American popular culture will enjoy Britton on Film.
Broken Symmetry is a collection drawn from the experiences of daily life and organized through the context of mathematics. Poet Jack Ridl uses remarkably clear and precise language to express a singular awareness of the world around us. Some of the poems in this volume deal with the universal human experience of loss, others discover a fresh perspective on what is easily overlooked, and many seek the goodness and joy that remain in a challenging world. Poems are grouped into chapters by mathematical themes, suggesting a commonality in these two separate worlds that is often overlooked. The straightforward language and universal subject matter make Broken Symmetry a profound collection of poetry that will appeal to readers of all backgrounds.
Classic Hollywood Comedians and Queered Masculinity
Film scholars and fans have used distinctive terms to describe the Classic Hollywood comedian: He is a "trickster," a "rebel," or a "buffoon." Yet the performer is almost always described as a "he." In Buffoon Men: Classic Hollywood Comedians and Queered Masculinity, Scott Balcerzak reads the performances of notable comedians such as W. C. Fields, Eddie Cantor, Jack Benny, Stan Laurel and Oliver Hardy, Bert Wheeler and Robert Woolsey, and Bud Abbott and Lou Costello through humor and queer theory to expose a problematic history of maleness in their personas. He argues that contrary to popular notions of Classic Hollywood history, these male comedians rearranged or, at times, rejected heteronormative protocols. Balcerzak begins by defining the particular buffoonish masculinity portrayed by early film comedians, a gender and genre construct influenced by the cultural anxieties of the 1930s and '40s. In chapter 1, he considers the onscreen pairing of W. C. Fields and Mae West to identify a queered sexuality and drag persona in Fields's performance, while in chapter 2 he examines the two major constructions of Fields's film persona-the confidence man and the husband-to show Fields to be a conflicted and subversive figure. In chapter 3, Balcerzak considers the assimilation and influence of Eddie Cantor as a Jewish celebrity, while he turns to the cross-media influence of Jack Benny's radio persona in chapter 4. In Chapters 5 and 6, he moves beyond the individual performer to examine the complex masculine brotherhood of comedy duos Laurel and Hardy, Abbott and Costello, and Bert Wheeler and Robert Woolsey. Buffoon Men shows that the complicated history of the male comedian during the early sound era has much to tell us about multimedia comedic stars today. Fans and scholars of film history, gender studies, and broadcast studies will appreciate Balcerzak's thorough exploration of the era's fascinating gender constructs.
Res Gestae et Fragmenta
The Res Gestae and Fragmenta by Caesar Augustus best exemplify the "pure" Latin of the Classical period. the sentences are clear and concise, with examples of almost every common phrase of Latin syntax. The material presented here in textbook form contains extensive annotation and commentary so that beginning Latin students will be able to read and comprehend the language with ease. The Res Gestae, a public statement Augustus left at the time of his death, is an autobiographical sketch of the emperor's life and is considered to be the most important extant Latin inscription. Herbert Benario's expanded notes, historical material, additional photographs, and assistance in translation make this revised volume useful and appropriate for the contemporary Latin student. A vocabulary section is included.
Detroit’s unique and partly abandoned cityscape has scarred its image around the world for decades. But in the last several years journalists have begun to view the city through a different lens, focusing on the wide range of contemporary artists finding inspiration amid the emptiness and adding a more complex chapter to the story of a city long labeled as a haunting symbol of U.S. economic decline. In Canvas Detroit, Julie Pincus and Nichole Christian combine vibrant full-color photography of the city’s much-buzzed-about art scene with thoughtful narrative that explores the art and artists that are re-creating Detroit. Canvas Detroit captures hundreds of pieces of artwork in many forms—including large-scale and small-scale murals, sculptures, portraits, light projections, wearable art, and installations (made with wood, glass, living plants, fiber, and fabric). Works are situated in both obvious and more hidden spaces, including on and in houses, garages, factories, alleyways, doors, and walls, while some structures have been entirely transformed into art. Pincus and Christian profile creators working in Detroit, including internationally known figures like Banksy, Matthew Barney, and Tyree Guyton; prominent Detroit artists such as Scott Hocking, Jerome Ferretti, and Robert Sestock; and collectives like Power House Productions, Hygenic Dress League, the Empowerment Plan, and Theatre Bizarre. Canvas Detroit also includes an introductory essay by Mame Jackson, and contributions by John Gallagher, Michael Hodges, Rebecca Hart, and Linda Yablonsky that contextualize the current artistic moment in the city. This beautifully designed and informative volume showcases the stunning breadth and depth of artwork currently being done in Detroit. It will be essential reading for anyone interested in arts and culture in the city.
How should we understand the international debate about the future of Israel and the Palestinians? Can justice be achieved in the Middle East? Until now, there was no single place for people to go to find detailed scholarly essays analyzing proposals to boycott Israel and the Boycott, Divestment, and Sanctions (BDS) movement of which they are a part. This book for the first time provides the historical background necessary for informed evaluation of one of the most controversial issues of our day— the struggle between two peoples living side-by-side but with conflicting views of history and conflicting national ambitions. This book encourages empathy for all parties, but it also takes a cold look at what solutions are realistic and possible. In doing so, it tackles issues, like the role of anti-Semitism in calls for the abolition of the Jewish state, that many have found impossible to confront until now. The book gathers essays by an international cohort of scholars from Britain, Israel, and the United States.
Fairy Tales on Television
Television has long been a familiar vehicle for fairy tales and is, in some ways, an ideal medium for the genre. Both more mundane and more wondrous than cinema, TV magically captures sounds and images that float through the air to bring them into homes, schools, and workplaces. Even apparently realistic forms like the nightly news routinely employ discourses of “once upon a time,” “happily ever after,” and “a Cinderella story.” In Channeling Wonder: Fairy Tales on Television, Pauline Greenhill and Jill Terry Rudy offer contributions that invite readers to consider what happens when fairy tale, a narrative genre that revels in variation, joins the flow of television experience. Looking in detail at programs from Canada, France, Italy, Japan, the UK, and the US, this volume’s twenty-three international contributors demonstrate the wide range of fairy tales that make their way into televisual forms. The writers look at fairy-tale adaptations in musicals like Rodgers and Hammerstein’s Cinderella, anthologies like Jim Henson’s The Storyteller, made-for-TV movies like Snow White: A Tale of Terror, Bluebeard, and the Red Riding Trilogy, and drama serials like Grimm and Once Upon a Time. Contributors also explore more unexpected representations in the Carosello commercial series, the children’s show Super Why!, the anime series Revolutionary Girl Utena, and the live-action dramas Train Man, and Rich Man Poor Woman. In addition, they consider how elements from familiar tales, including “Hansel and Gretel,” “Little Red Riding Hood,” “Beauty and the Beast,” “Snow White,” and “Cinderella” appear in the long arc serials Merlin, Buffy the Vampire Slayer, and Dollhouse, and in a range of television formats including variety shows, situation comedies, and reality TV. Channeling Wonder demonstrates that fairy tales remain ubiquitous on TV, allowing for variations but still resonating with the wonder tale’s familiarity. Scholars of cultural studies, fairy-tale studies, folklore, and television studies will enjoy this first-of-its-kind volume.