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Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

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Catherine Constable

, stronger and brighter than its predecessors. This constitutes a significant departure from Baudrillard’s brief acknowledgement of the possibility of minimal differentiation. The second film sets up a potential clash between the possible differentiation between elements of a sequence and the overarching model of functionality, in which all the variant forms fulfil a single purpose. This problem is explicitly played out with reference to Trinity whose death appears to be a necessary part of her function as the lover of The One. Trinity’s death takes the form of both a

in Adapting philosophy
Does popular culture mean popular language?
Nigel Armstrong

syllable aller; fée; j’irai; poignée allais; fait; j’irais; poignet belle; père feu; deux; malheureux jeûne (noun); veule (adj.); –euse (suffix) jeune (adj.); veulent (verb form) peau; dos saule; rose philosophie sol; dot; port Figure 2  Distribution of mid-vowels in open and closed syllables (cf. Valdman 1976: 57) that few word-pairs are differentiated in meaning by the vowel alternations. The vowels /e/ and /ε/ have in principle a high functional yield, most frequently in their distribution in inflectional -er verb suffixes (infinitive, future, conditional, present

in Imagining the popular in contemporary French culture
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The princess and the post-’68 fairy tale
Susan Weiner

way: ‘The camera manages to make the landscape at once functional to plot and the characters’ moods and “irrelevantly” beautiful, worthy of aesthetic contemplation in its own right. It remains a positive visual force’. As Chatman shows, the alienated characters of L’avventura may not themselves register the beauty of the landscape within which they are framed, but the repeated use of long shot

in From perversion to purity
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Trish Winter and Simon Keegan-Phipps

4 An English style? Central to any formation or consolidation of identity, national or otherwise, are processes of differentiation. The differentiations inherent in the present resur­ gence of English folk are, for the benefit of our understanding of the move­ ment, two-fold. Primarily, the movement must necessarily be concerned with the essentialisation of those concrete aspects of the English folk arts that are identified with Englishness. In other words, a successful negotiation of English identity through the folk arts cannot be achieved without an

in Performing Englishness
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Andrew Dix

stratification. Some evidence for this is supplied in Rudyard Kipling’s short story ‘Mrs Bathurst’ (1904) – incidentally, a preternaturally early fable of the dangers of becoming transfixed by the screen. Taking place in a circus in Cape Town and alternating with other amusements like ‘the performin’ elephants’ (Kipling, 2011 : 337), film exhibition as described in this text has democratic, even carnivalesque connotations. Nevertheless, the venue is not free of status differentiation: one character, fretting over his ‘so-called finances’, is only willing to enter the more

in Beginning film studies (second edition)
Malcolm Turvey

-Stevens’ Villa Noailles. Finally, on the second floor are two portholes, which unbalance the building and look incongruous relative to the vertical rectangular windows of the ground floor, and which become the basis of a gag that allows Tati to mock the building: when Monsieur and Madame Arpel look out of them at night, their silhouettes make the round windows look like eyes with moving pupils. Rather than expressing a coherent functional or aesthetic rationale, the Arpels’ house seems more like a bricolage of improperly understood stylistic elements associated with 1920s

in Screening the Paris suburbs
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Hyangjin Lee

traditional model of economic-materialistic Marxism. By adding autonomy to the superstructures, Althusser took a major step from the original Marxist definition of the term ‘superstructure’. 16 Althusser’s theory enables film critics to address how ideology operates historically in its functional relation with the economic, political and cultural aspects of class society. His theory of ideology has indirectly helped to thrust political film studies into

in Contemporary Korean cinema
Toward a musical poetics of The Smiths
Jonathan Hiam

. Likewise, the melody itself is somewhat dull. It passes by at a slow to moderate pace, with each syllable given its own note. It, too, seems subject to routine. In short, the melody is ostensibly as uninteresting as the life characterised by the song.6 The song unfolds in verse–chorus form, which, as we have seen, dictates that the music changes with the onset of the chorus. And indeed it does. The powerful, syncopated groove on G differentiates the transcendent possibilities of the revolution called for by the chorus, ironically or not, from the static nature of the

in Why pamper life's complexities?
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H. P. Lovecraft and the cinema
Julian Petley

conditions, atmospheres, appearances , and things of that kind. (Quoted in de Camp, 1975 : 348, original emphasis). As Michel Houellebecq states, Lovecraft perceived the futility of all psychological differentiation. His characters no longer required it; all they needed

in Monstrous adaptations