Kategoria BISAC: Performing Arts >> Film - History & Criticism

This is the first volume to provide a detailed introduction to some of the main areas of research and practice in the interdisciplinary field of art and neuroscience. With contributions from neuroscientists, theatre scholars and artists from seven countries, it offers a rich and rigorous array of perspectives as a springboard to further exploration. Divided into four parts, each prefaced by an expert editorial introduction, it examines:

* Theatre as a space of relationships: a neurocognitive perspective
* The spectator's performative experience and 'embodied theatrology'
* The...

A portrait of a woman, an era, and a profession: the first thoroughly researched biography of Meryl Streep--the "Iron Lady" of acting, nominated for nineteen Oscars and winner of three--that explores her beginnings as a young woman of the 1970s grappling with love, feminism, and her astonishing talent.

In 1975 Meryl Streep, a promising young graduate of the Yale School of Drama, was finding her place in the New York theater scene. Burning with talent and ambition, she was like dozens of aspiring actors of the time--a twenty-something beauty who rode her bike everywhere, kept a diary,...

This final performance in many ways exemplified the power of Carmen Miranda. The actress, singer, and dancer pursued a relentless mission to demonstrate the provocative...

Veit Harlan (1899--1964) was one of Germany's most controversial and loathed directors. After studying with theatre and film pioneer Max Reinhardt and beginning a promising career, he became one of Joseph Goebbels's leading filmmakers under the National Socialist regime. Harlan's Jud Suss ( Jew Suss, 1940), in particular, stands as one of the most artistically distinct and morally reprehensible films produced by the Third Reich. His involvement with this movie has led to many critical questions: Was the director truly forced to make the film under penalty of death? Is...

Although Donald Cammell's credits consist of a very few titles as a film director - Performance (1970), Demon Seed (1977), White of the Eye (1987) and Wild Side (1995) - he remains one of the most fascinating of British filmmakers.

This book explores all of Donald Cammell's key movies, his themes and symbols, his cinematic style and direction, and his use of music and visuals.

As a writer and director, Donald Cammell directed Performance (1970), a masterpiece combining...

Tommy is a 1975 movie based on the rock opera by the British pop band Who and directed by British genius Ken Russell. Shamelessly over-the-top, silly, wild, dynamic, primitive, glitzy and violent, Tommy ain't subtle: it presents pop psychology which's crude as a sledgehammer, symbolism which's heavy-handed like a pinball machine hurled out of a hotel onto Sunset Strip; it's decked out in Pop Art colours and costumes by way of glam rock; it's proudly and bizarrely English and parochial and provincial; it's perverse...

The Devils is a celebrated 1971 picture based on the Loudun demonology trials in the 17th century, scripted by Ken Russell from Aldous Huxley's The Devils of Loudun (1952) and the 1961 play by John Whiting (1918-63). The Devils was undoubtedly director Russell's most notorious hour. It was the site of conflicts between the filmmakers, the American film studio (Warners), the censors and the critics.

A tour-de-force of direction (and organization and production), the most significant contribution to The Devils may well...

Typically, studies of early cinema s relation to literature have focused on the interactions between film and modernism. When film first emerged, however, it was naturalism, not modernism, competing for the American public s attention. In this media ecosystem, the cinema appeared alongside the works of authors including Charlotte Perkins Gilman, Jack London, and Frank Norris. Drawing on contemporaneous theories of time and modernity as well as recent scholarship on film, narrative, and naturalism, this book" "moves beyond traditional adaptation studies approaches to argue that both...

First published in 1975, this book examines the career of one of the leading post-war Czech filmmakers Milos Forman through his own testimony. After recollecting his childhood and early artistic ventures, Forman gives accounts of the making of his major films, interspersed with contemporaneous reviews by the author, and in the final chapter he sums up his 'lessons along the way'. A section entitled 'Stories behind the Stories' fills in details on the events and people mentioned in Forman's narrative. The author's commentary provides valuable insights not only into the aesthetics of...

For over a decade, Tyler Perry has been a lightning rod for both criticism and praise. To some he is most widely known for his drag performances as Madea, a self-proclaimed -mad black woman, - not afraid to brandish a gun or a scalding pot of grits. But to others who watch the film industry, he is the businessman who by age thirty-six had sold more than $100 million in tickets, $30 million in videos, $20 million in merchandise, and was producing 300 projects each year viewed by 35,000 every week.

Is the commercially successful African American actor, director, screenwriter, playwright,...

Semiotics offers a systematic approach to analysing the stylistic structure of film. When this study was originally published in 1983 this was a recent addition to the methods of film study and it presents an explanation of film semiotics with direct application to comparative film research. It takes as its representative subject one trilogy of films and applies semiology, with careful textual analysis. The book begins with a basic introduction to semiotics and the ideas of Christian Metz on cinesemiotics. It then presents a syntagmatic analysis of each of the three Dollars films, with an...