This account of the life and films of the Spanish-Basque filmmaker Julio Medem is the first book in English on the internationally renowned writer-director of Vacas, La ardilla roja (Red Squirrel), Tierra, Los amantes del círculo polar (Lovers of the Arctic Circle), Lucía y el sexo (Sex and Lucía), La pelota vasca: la piel contra la piedra (Basque Ball) and Caótica Ana (Chaotic Ana). Initial chapters explore Medem's childhood, adolescence and education, and examine his earliest short films and critical writings against a background of a dramatically changing Spain. Later chapters provide accounts of the genesis, production and release of Medem's challenging and sensual films, which feed into analyses of their meanings, both political and personal, in which the author draws on traditions and innovations in Basque art, Spanish cinema and European philosophy to create a portrait of the director and his work.
Frank Sinatra, Postwar Liberalism and Press Paranoia
Anti-Communist hysteria had a wide-ranging impact on Hollywood across the postwar
period. As writers, directors and stars came under the scrutiny of the House
Un-American Activities Committee (HUAC) due to the content of their films and their
political activities, careers were interrupted indefinitely and Hollywood‘s ability
to promote cultural change in the new era following World War II was severely
hampered. Frank Sinatra‘s heavy involvement in liberal politics during this period
illustrates the problems confronting the American film industry as it attempted to
address the country‘s imperfections.
character, and proposes causal
links between them (colonial experience, individuality and victimhood).
Sirens : the parody of
the period film
Sirens (John Duigan. 1994) achieves a belated
revival of many of the key features of the period film cycle, while developing the themes of
its writer-director. Frequently. Duigan has been associated with film narratives detailing
formative experiences and rites of passage (acting as writer-director for The Year My
Voire Broke (1987). Flirting (1991) and the adaptation
is worth noting that most of the monograph studies of individual films
mentioned in this chapter include a section on its genesis. 3
In this chapter, we will consider the varying approaches of
three writer-directors associated with the New Wave – Truffaut,
Agnès Varda and Rohmer – to consider how their authorial
practice extended the remit of screenwriting. We will address three sets
of questions as a
immortality, death, and
morality. I explore the ways in which the writer-director applies his
thesis on the importance of death to the horror genre, and examine
how this subverts an understanding of death as the dark element to be
feared. I go on to analyse how del Toro, through Cronos, establishes an
auteurist identity, which will be developed with experience and access
to larger budgets. I argue for the centrality of early horror filmmakers
James Whale and Terence Fisher, and their interpretations of Dracula
and Frankenstein. Finally, I consider traits which are common to
This chapter locates specific instances in which writers, directors, and actors of the twenties referenced the actual object of the camera in relationship to Spanish film acting and performance. It further shows how, contrary to how Spaniards have been represented or have portrayed themselves throughout history, the phenomenology of technological mediation—in this case, acting—is deeply embedded in Spanish filmic culture. This chapter includes extensive archival work in order to analyse how Spanish critics of silent film regularly theorised on complex ideas concerning the need for actors to physically and psychologically adjust their performances to the requirements of the camera medium, the fragmentation and monotonisation of acting, and ultimately its commoditisation. It finally documents the ways in which the camera influenced acting styles and performances, and how the consciousness of cinemagoers participated in the policing, self-policing and racialization of subjects as readers of film magazines.
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
Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.
This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused. Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends. The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences. Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.