Search results

ESPN and the Un-Americanisation of Global Football
Jon Lewis

This article examines the cultural politics of American soccer fandom, with specific attention paid to the ways in which the sport is positioned and platformed by the major sports networks, including, especially, cable televisions biggest player in the United States, ESPN. The networks‘ failure to exploit soccer as a marketable commodity can be traced to a persistent American futility at the sport on the international level, but it evinces as well a larger American cultural problematic, one in which ethnocentrism and isolationism is disguised, as it often is, as American exceptionalism.

Film Studies
John Herson

families (Table 8.4). Even so, over 40 per cent of these families proved to be either long-term transient or died out. Four case studies examine the experience of military families. They are: • • • • John Carroll and the Coleman family; the Disney family and Trench Nugent; the Cronin family; John Ryan and the Blundon family. John Carroll and his integration with the Coleman family The Catholic John Carroll has already appeared in this book because, in Chapter 5, we saw that in 1857 Mary Coleman bigamously married John Carroll, a ‘pensioner’. The suspicious nature

in Divergent paths
Abstract only
John Mundy and Glyn White

Animation is a serious business, bedevilled by popular misconceptions that it is: (1) for children; (2) short; and (3) always funny. Beginning in the late nineteenth century, film animation has varied in length from the short to full-length feature, and has been used for a variety of serious purposes, such as propaganda in Winsor McCay’s Sinking of the Lusitania (1918), Disney’s

in Laughing matters
Abstract only
A writer’s perspective
Sam George and Bill Hughes

still come to terms of peace with their human contacts. The question of how realistic these attempts to make stories with apparently more realistic wolves actually are is not for consideration here; instead we merely note the presence of beasts capable of more than the instinct to rip throats and devour all. Who's afraid of the big bad wolf? Can wolves ever be trusted? Disney's 1933 animation The Three Little Pigs gives a definite answer, and in doing so launched one of the studio's most popular songs

in In the company of wolves
Hans Christian Andersen and Selma Lagerlöf
Maria Holmgren Troy and Sofia Wijkmark

: ‘Den lille Havfrue’ (1837; ‘The Little Mermaid’, 1846), ‘Snedronningen’ (1844; ‘The Snow Queen’, 1847) and ‘De vilde Svaner’ (1838; ‘The Wild Swans’, 1846). The first two are the inspiration for two of the most popular Disney films of all time, The Little Mermaid (1989) and Frozen (2013), and the connection between Nordic Gothic and a global, commercial phenomenon such as Disney is one important reason behind the choice of Andersen's fairy tales for this chapter. What the literal Disneyfication of the two stories has meant for the Gothic content will be briefly

in Nordic Gothic
Reconceptualising British landscapes through the lens of children’s cinema
Suzanne Speidel

its environs evoke the Gothic –​both the horror and the fairy-​tale ends of the spectrum. The castle itself mingles the French medieval château with Scottish baronial architecture, although its most obvious antecedents are in fact Disney castles, as exemplified in Snow White and the Seven Dwarfs (William Cottrell et al., 1937), Cinderella (Clyde Geronimi et al., 1950) and Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991) –​as well as Disney’s theme parks. These are at once elaborate and simplified structures, emphasising the outlines of pointed spires and

in British rural landscapes on film
Abstract only
Activism and design in Italy
Author: Ilaria Vanni

Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.

Abstract only
The Great Gatsby (1974); Something Wicked This Way Comes (1983)
Neil Sinyard

1980s, with a change of management personnel at the Disney organisation, that interest in the subject was revived. When Kirk Douglas approached Clayton again as a possible director, he was involved in pre-production preparation for a film, Revelations , but when that stalled, he became available and started work again on the screenplay, from scratch, with Bradbury. The major change they decided on at that stage was to set the

in Jack Clayton
Abstract only
‘I’m not done baking’
Matthew Pateman

just over 2 million for the final episode of season 4 (and struggling to reach over 5 million since season 1), has been renewed for a fifth season. ABC's and Marvel's parent company, Disney, presumably feel the franchise overall is worth the investment, and will doubtless reap lucrative benefits through syndication. Whedon, himself, has been announced as the writer, director and producer of a stand-alone Batgirl movie for DC

in Joss Whedon
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.