Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, this book is a "one-stop shop" of sorts for students and instructors employing various approaches and media in the study of "teratologies," or discourses of the monstrous.
Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, t...
The effort to win federal copyright protection for dance choreography in the United States was a simultaneously racialized and gendered contest. Copyright and choreography, particularly as tied with whiteness, have a refractory history. This book examines
The effort to win federal copyright protection for dance choreography in the United States was a simultaneously racialized and gendered contest. Copyr...
Caroline Joan S. Picart John Edgar Browning Caroline Joan S. Picart
Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, this book is a "one-stop shop" of sorts for students and instructors employing various approaches and media in the study of "teratologies," or discourses of the monstrous.
Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, t...
The effort to win federal protection for dance in the United States was a racialized and gendered contest. Picart traces the evolution of choreographic works from being federally non-copyrightable to becoming a category potentially copyrightable under the 1976 Copyright Act, specifically examining Loie Fuller, George Balanchine, and Martha Graham.
The effort to win federal protection for dance in the United States was a racialized and gendered contest. Picart traces the evolution of choreographi...
