The last decade of the twentieth century brought a maturing of the new racial and ethnic communities in the United States and the emergence of diversity and multiculturalism as dominant fields of discourse in legal, educational, and cultural contexts.
Samuel Crowl's Shakespeare at the Cineplex: The Kenneth Branagh Era is the first thorough exploration of the fifteen major Shakespeare films released since the surprising success of Kenneth Branagh's Henry V (1989). Crowl presents the rich variety of these films in the “long decade: between the fall of the Berlin Wall and the terrorist attacks on September 11, 2001.”
Every European power in Africa made motion pictures for its subjects, but no state invested as heavily in these films, and expected as much from them, as the British colony of Southern Rhodesia. Flickering Shadows is the first book to explore this little-known world of colonial cinema.
The culture of television in Indonesia began with its establishment in 1962 as a public broadcasting service. From that time, through the deregulation of television broadcasting in 1990 and the establishment of commercial channels, television can be understood, Philip Kitley argues, as a part of the New Order's national culture project, designed to legitimate an idealized Indonesian national cultural identity.
Nigerian video films—dramatic features shot on video and sold as cassettes—are being produced at the rate of nearly one a day, making them the major contemporary art form in Nigeria. The history of African film offers no precedent for such a huge, popularly based industry. The contributors to this volume, who include film and television directors, an anthropologist, and scholars of film studies and literature, take a variety of approaches to this flourishing popular art.
The aesthetics of frame theory form the basis of Framing Shakespeare on Film. This groundbreaking work expands on the discussion of film constructivists in its claim that the spectacle of Shakespeare on film is a problem-solving activity. Kathy Howlett demonstrates convincingly how viewers' expectations for understanding Shakespeare on film can be manipulated by the director's cinematic technique.
In this lively study of both modern film and stage productions of Shakespeare, Samuel Crowl provides fascinating insights into the ways in which these productions have been influenced by one another as well as by contemporary developments in critical approaches to Shakespeare's plays.
Both film noir and the Weimar street film hold a continuing fascination for film spectators and film theorists alike. The female characters, especially the alluring femmes fatales, remain a focus for critical and popular attention. In the tradition of such attention, Dangerous Dames focuses on the femme fatale and her antithesis, the femme attrapée.
Shakespeare in Production examines a number of plays in context. Included are the 1936 Romeo and Juliet, unpopular with critics of filmed Shakespeare, but very much a “photoplay” if its time; the opening sequences of filmed Hamlets which span more than seventy years; The Comedy of Errors on television, where production of this script is almost impossible; and the Branagh Much Ado About Nothing, a “popular” film discussed in the context of comedy as a genre.
Randai, the popular folk theater tradition of the Minangkabau ethnic group in West Sumatra, has evolved to include influences of martial arts, storytelling, and folk songs. Theater and Martial Arts in West Sumatra describes the origin, development, and cultural background of randai and highlights two recent developments: the emergence of female performers and modern staging techniques.
Until the extraordinary critical and commercial success of “10,” Blake Edwards was mostly known as the director of the immensely popular Pink Panther films. The character of Inspector Clouseau, as played by Peter Sellers, has, in the estimation of some critics, joined the ranks of such classic comic personae as Chaplin’s tramp and Keaton’s stone-faced clown.
In Volume 2 of their treatment of Blake Edwards’ work, William Luhr and Peter Lehman have continued their critical analysis of the films of one of the United States’ most prolific contemporary film directors.
Switzer looks at how South Africa’s communications industry, the largest and most powerful on the continent, promotes dependency among the subject African populations. This study of the Ciskei “Homeland”, which has long been a fountainhead of African nationalism and a zone of conflict between blacks and whites, focuses on the privately owned, commercial press and its role in helping to frame a consensus in support of the political, economic and ideological values of the ruling alliance.
Nearly 200 photos enhance Champlin’s readable, fascinating survey of the movies from the Golden Age up through the year 1980. According to Champlin, movies are the art form of our time—perhaps even the art form of this century. With this revised and enlarged edition of his book, one of the most comprehensive and eloquent works on film is available once again.
The extraordinary actor–director–writer who developed his talent for self-torture into art to become one of the most vital creative forces of the century.
African American Studies
Emigration and Immigration
Native American Studies
Prostitution and Sex Trade
Race and Ethnicity
Slavery and Slave Trade
Social Science Essays
Social Science, Methodology
Violence in Society