As relevant as when it was first published in 1968, groundbreaking director and cofounder of the Royal Shakespeare Company Peter Brook draws on a life in love with the stage to explore the issues facing a theatrical performance—of any scale. He describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht’s revolutionary alienation technique to the free form happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt-out shell of the Hamburg Opera just after the war. Passionate, unconventional, and fascinating, this book shows how theatre defies rules, builds and shatters illusions, and creates lasting memories for its audiences.

    This new edition of Writing Television Sitcoms features the essential information every would-be teleplay writer needs to know to break into the business, including: - Updated examples from contemporary shows such as 30 Rock, The Office and South Park - Shifts in how modern stories are structured - How to recognize changes in taste and censorship - The reality of reality television - How the Internet has created series development opportunities - A refined strategy for approaching agents and managers - How pitches and e-queries work - or don't - The importance of screenwriting competitions

    The first collection of its kind, Eric A. Stanley and Nat Smith bring together current and former prisoners, activists, and academics to offer new ways for understanding how race, gender, ability, and sexuality are lived under the crushing weight of captivity. Through a politic of gender self-determination, this collection argues that trans/queer liberation and prison abolition must be grown together. From rioting against police violence and critiquing hate crimes legislation to prisoners demanding access to HIV medications, and far beyond, Captive Genders is a challenge for us all to join the struggle."An exciting assemblage of writings—analyses, manifestos, stories, interviews—that traverse the complicated entanglements of surveillance, policing, imprisonment, and the production of gender normativity.... [T]he contributors to this volume create new frameworks and new vocabularies that surely will have a transformative impact on the theories and practices of twenty-first century abolition."—Angela Y. Davis, professor emerita, University of California, Santa Cruz"The purpose of prison abolition is to discover and promote the countless ways freedom and difference are mutually dependent. The contributors to Captive Genders brilliantly shatter the assumption that the antidote to danger is human sacrifice."—Ruth Wilson Gilmore, author of Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California"Captive Genders is at once a scathing and necessary analysis of the prison industrial complex and a history of queer resistance to state tyranny. By queering a prison abolition analysis, Captive Genders moves us to imagine the impossible dream of liberation."—Mattilda Bernstein Sycamore, author of So Many Ways to Sleep BadlyEric A. Stanley is a radical queer activist, outlaw academic, and experimental filmmaker.Nat Smith is a member of Trans/gender Variant in Prison Committee and is an organizer with Critical Resistance.

    It begins with an overview of film production, moves on to a consideration of the formal elements and techniques, covers film criticism and concludes with a brief section highlighting the key moments in film history. Illustrated with over 500 frame enlargements, many in colour, "Film Art" has been updated to include analysis of some of the most interesting films of recent years including "Raging Bull" and "Desperately Seeking Susan".

    

    First published in French (L'Esthetique du film) in 1983, the book provides an essential introduction to all major areas of film study, including semiotics, narratology, psychoanalysis as a part of film theory, and the theory of spectatorship.Because current film criticism is part of a historical debate about the role of cinema in society, the authors probe the contributions of significant film theorists of the past. They consider the earliest writings of Munsterberg, Balazs, and Eisenstein, move on to Bazin, the Filmologists, and Mitry, and address the linguistic, semiotic, and psychoanalytic contributions offered by Barthes, Metz, and many of their contemporaries.The chapters include "Film as Audiovisual Representation," "Montage," "Cinema and Narration," "Cinema and Language," and "Film and its Spectator." With numerous references to specific films and many black-and-white stills, the book will be useful for both beginning film students and advanced scholars who need a summary of the major stages in the development of film theory and aesthetics.

    Dennis Dalton's general introduction and headnotes highlight the life of Gandhi, set the readings in historical context, and provide insight into the conceptual framework of Gandhi's political theory. Complete with bibliography, glossary, and index.

    In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.

    Anselm Jappe rejects recent attempts to set Debord up as a "postmodern" icon, arguing that he was a social theorist in the Hegelian-Marxist tradition—not a precursor of Jean Baudrillard but an heir of the young Georg Lukács of History and Class Consciousness (1923). Neither hagiographical nor sectarian, Guy Debord places its subject squarely in his historical context: the politicizing Letterist and Situationist "anti-artists" who, in the European aftermath of World War II, sought to criticize and transcend the Surrealist legacy. The book offers a lively, critical, and unusually reliable account of Debord's "last avant-garde" on its way from radical bohemianism to revolutionary theory. Jappe also discusses Debord's films, which are largely inaccessible at present. This English language edition of the book has been revised by the author and features an updated critical bibliography of Debord and the Situationists.»

    Praised by the Chicago Tribune as "an impressive study" and written with incisive wit and searing perception--the definitive, highly acclaimed landmark work on the portrayal of homosexuality in film.

    Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

    It is a valuable contribution not just of film criticism but to a society in which the vital role of women is just beginning to emerge."—Christian Science Monitor"Haskell is interested in women—how they are used in movies, how they use movies, and how the parts they play function as projections and verifications of our myths about women's lot and woman's psyche and even, lately, women's lib."—Jane Kramer, Village Voice"In examining the goddesses worshipped by an entire nation, Molly Haskell reveals a good deal about our national character and our most cherished sexual myths. . . . Concerned with the deeply ingrained belief of women's inferiority, she analyzes movies as a social product as well as a social arbiter, and she effectively demonstrates how women are encouraged to impose limitations on themselves by fashioning those selves after flickering shadows in a darkened auditorium—sexual creatures who possess neither ability nor ambition beyond their bodies. . . . Both as an examination of film and as sociology, From Reverence to Rape is excellent."—Harriet Kriegel, The Nation

    Now that it's possible to publish in real time to a worldwide audience, a new breed of grassroots journalists are taking the news into their own hands. Armed with laptops, cell phones, and digital cameras, these readers-turned-reporters are transforming the news from a lecture into a conversation. In We the Media, nationally acclaimed newspaper columnist and blogger Dan Gillmor tells the story of this emerging phenomenon and sheds light on this deep shift in how we make--and consume--the news.Gillmor shows how anyone can produce the news, using personal blogs, Internet chat groups, email, and a host of other tools. He sends a wake-up call to newsmakers-politicians, business executives, celebrities-and the marketers and PR flacks who promote them. He explains how to successfully play by the rules of this new era and shift from "control" to "engagement." And he makes a strong case to his fell journalists that, in the face of a plethora of Internet-fueled news vehicles, they must change or become irrelevant.Journalism in the 21st century will be fundamentally different from the Big Media oligarchy that prevails today. We the Media casts light on the future of journalism, and invites us all to be part of it.Dan Gillmor is founder of Grassroots Media Inc., a project aimed at enabling grassroots journalism and expanding its reach. The company's first launch is Bayosphere.com, a site "of, by, and for the San Francisco Bay Area."Dan Gillmor is the founder of the Center for Citizen Media, a project to enable and expand reach of grassroots media. From 1994-2004, Gillmor was a columnist at the San Jose Mercury News, Silicon Valley's daily newspaper, and wrote a weblog for SiliconValley.com. He joined the Mercury News after six years with the Detroit Free Press. Before that, he was with the Kansas City Times and several newspapers in Vermont. He has won or shared in several regional and national journalism awards. Before becoming a journalist he played music professionally for seven years.

    Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, The Threepenny Opera, Mahagonny, Mother Courage, Puntila, and Galileo. Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama.Translated and edited by John Willett, Brecht on Theater is essential to an understanding of one of the twentieth century's most influential dramatists.

    It looks at painting, photography, film, television, and new media across the realms of art, advertising, news, science, and law. Authors Marita Sturken and Lisa Cartwright present the diverse ranges of approaches to visual analysis that have emerged in the last few decades, and lead the reader through the key theories of visual culture in an accessible and highly readable approach. Including over 180 images, this truly interdisciplinary and beautifully designed book aims to be a comprehensive introduction for anyone interested in images, and the key text for courses across a range of disciplines including media and film studies, art history, photography, and communication.