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Post-war British Drama: Sexuality And The Family In Post-war British Drama (Routledge Revivals Ser.)
by Michelene WandorIn this extensively revised and updated edition of her classic work, Look Back in Gender, Michelene Wandor confirms the symbiotic relationship between drama and gender in a provocative look at key, representative British plays from the last fifty years. Repositioning the text at the heart of hteatre studies, Wandor surveys plays by Ayckbourn, Beckett, Churchill, Daniels, Friel, Hare, Kane, Osborne, Pinter, Ravenhill, Wertenbaker, Wesker and others. Her nuanced argument, central to any analysis of contemporary drama, discusses: *the imperative of gender in the playwright's imagination *the function of gender as a major determinant of the text's structural and narrative drives *the impact of socialism and feminism on post-war British drama, and the relevance of feminist dynamics in drama *differences in the representation of the fmaily, sexuality and the mother, before and after 1968 *the impact of the slogan that the 'personal is political' on contemporary form and content.
Post-war British Drama: Looking Back in Gender
by Michelene WandorIn this extensively revised and updated edition of her classic work, Look Back in Gender, Michelene Wandor confirms the symbiotic relationship between drama and gender in a provocative look at key, representative British plays from the last fifty years. Repositioning the text at the heart of hteatre studies, Wandor surveys plays by Ayckbourn, Beckett, Churchill, Daniels, Friel, Hare, Kane, Osborne, Pinter, Ravenhill, Wertenbaker, Wesker and others. Her nuanced argument, central to any analysis of contemporary drama, discusses: *the imperative of gender in the playwright's imagination *the function of gender as a major determinant of the text's structural and narrative drives *the impact of socialism and feminism on post-war British drama, and the relevance of feminist dynamics in drama *differences in the representation of the fmaily, sexuality and the mother, before and after 1968 *the impact of the slogan that the 'personal is political' on contemporary form and content.
Post-War Modernist Cinema and Philosophy: Confronting Negativity and Time
by H. FordA unique study of four major post-war European films by four key 'auteurs', which argues that these films exemplify film modernism at the peak of its philosophical reflection and aesthetic experimentation.
Post-Yugoslav Cinema: Towards a Cosmopolitan Imagining
by Dino MurticDrawing primarily on selected filmic texts from former-Yugoslavia, the book examines key social and political events that triggered the Yugoslav wars in the 1990s. Yugoslav politics and society are set within the broader artistic and cinematic strategies that helped stabilise post-Yugoslav territories strategies that were part of the national desire of looking forward to a time of 'perpetual peace' and its subsequent cosmopolitan norms. It argues that filmic texts demonstrate the degree to which nationalism was at the heart of the violent disintegration of Yugoslavia. Yet, the concern of the argument is not simply to offer a filmic critique but to develop an alternative to nationalism; namely, a theoretical framework through which cosmopolitan humanism is at the forefront of addressing former Yugoslavia's political wounds.
Post-Yugoslav Literature and Film: Fires, Foundations, Flourishes
by Gordana P. CrnkovicThe 1990s violence in the Former Yugoslavia, the worst in Europe since World War II, triggered the conversion of multi-ethnic, multi-religious, and cosmopolitan areas of idiosyncratic and independent socialism into regions of xenophobic nationalism, wars, and, afterwards, Western-style democracy and capitalism. Unified by their artistic response to these cataclysmic changes, post-Yugoslav literary works and films have much to offer the wider world. Crnkovic reveals select post-Yugoslav literary and cinema works as groundbreaking exploratory achievements of global relevance. She presents post-Yugoslav literature and film as art that makes us aware of previously unconsidered things that bring us wars, and those that constitute part of the tapestry of peace. She foregrounds the radical potential of art to change and enrich the global landscapes of concepts, sensitivities, and politics. As such her book is important not only for those interested in this region, but also for all those wanting to discover and engage with world literature and cinema, and willing to encounter the potential of great new art to illuminate and challenge the world we live in.
Post-Yugoslav Literature and Film: Fires, Foundations, Flourishes
by Gordana P. CrnkovicThe 1990s violence in the Former Yugoslavia, the worst in Europe since World War II, triggered the conversion of multi-ethnic, multi-religious, and cosmopolitan areas of idiosyncratic and independent socialism into regions of xenophobic nationalism, wars, and, afterwards, Western-style democracy and capitalism. Unified by their artistic response to these cataclysmic changes, post-Yugoslav literary works and films have much to offer the wider world. Crnkovic reveals select post-Yugoslav literary and cinema works as groundbreaking exploratory achievements of global relevance. She presents post-Yugoslav literature and film as art that makes us aware of previously unconsidered things that bring us wars, and those that constitute part of the tapestry of peace. She foregrounds the radical potential of art to change and enrich the global landscapes of concepts, sensitivities, and politics. As such her book is important not only for those interested in this region, but also for all those wanting to discover and engage with world literature and cinema, and willing to encounter the potential of great new art to illuminate and challenge the world we live in.
Postcolonial African cinema: Ten directors
by David Murphy Patrick WilliamsThis is the first introduction of its kind to an important cross-section of postcolonial African filmmakers from the 1950s to the present. Building on previous critical work in the field, this volume will bring together ideas from a range of disciplines – film studies, African cultural studies, and, in particular, postcolonial studies – in order to combine the in-depth analysis of individual films and bodies of work by individual directors with a sustained interrogation of these films in relation to important theoretical concepts. Structurally, the book is straightforward, though the aim is to incorporate diversity and complexity of approach within the overall simplicity of format. Chapters provide both an overview of the director’s output to date, and the necessary background – personal or national, cultural or political – to enable readers to achieve a better understanding of the director’s choice of subject matter, aesthetic or formal strategies, or ideological stance. They also offer a particular reading of one or more films, in which the authors aim to situate African cinema in relation to important critical and theoretical debates. This book thus constitutes a new departure in African film studies, recognising the maturity of the field, and the need for complex yet accessible approaches to it, which move beyond the purely descriptive while refusing to get bogged down in theoretical jargon. Consequently, the volume should be of interest not only to specialists but also to the general reader.
Postcolonial Bollywood and Muslim Identity: Production, Representation, and Reception
by Dr Nadira KhatunThe book joins a growing scholarship in the field of Bollywood film studies, encompassing methodological sub-groups such as discursive or narrative studies, textual analysis, audience research, and the political economy of Bollywood. It particularly focuses on the representation of Muslims in postcolonial Bollywood cinema that draws upon earlier questions and concerns about narrative style and the politics of representing Muslims. It also includes issues concerning Muslim film genres and the chronological shift in the portrayal of Muslims that is contingent upon national politics. In Bollywood cinema, Muslims have traditionally been portrayed through the lens of religion. Narratives associated with that specific religious identity have been adapted, based on the socio-political setting of the country at the time of the film's making. The study, thus, adds to scholarship on 'representation' in popular Hindi cinema.
Postcolonial Bollywood and Muslim Identity: Production, Representation, and Reception
by Dr Nadira KhatunThe book joins a growing scholarship in the field of Bollywood film studies, encompassing methodological sub-groups such as discursive or narrative studies, textual analysis, audience research, and the political economy of Bollywood. It particularly focuses on the representation of Muslims in postcolonial Bollywood cinema that draws upon earlier questions and concerns about narrative style and the politics of representing Muslims. It also includes issues concerning Muslim film genres and the chronological shift in the portrayal of Muslims that is contingent upon national politics. In Bollywood cinema, Muslims have traditionally been portrayed through the lens of religion. Narratives associated with that specific religious identity have been adapted, based on the socio-political setting of the country at the time of the film's making. The study, thus, adds to scholarship on 'representation' in popular Hindi cinema.
Postcolonial Cinema Studies
by Sandra Ponzanesi Marguerite WallerThis collection of essays foregrounds the work of filmmakers in theorizing and comparing postcolonial conditions, recasting debates in both cinema and postcolonial studies. Postcolonial cinema is presented, not as a rigid category, but as an optic through which to address questions of postcolonial historiography, geography, subjectivity, and epistemology. Current circumstances of migration and immigration, militarization, economic exploitation, racial and religious conflict, enactments of citizenship, and cultural self-representation have deep roots in colonial/postcolonial/neocolonial histories. Contributors deeply engage the tense asymmetries bequeathed to the contemporary world by the multiple,diverse, and overlapping histories of European, Soviet, U.S., and multi-national imperial ventures. With interdisciplinary expertise, they discover and explore the conceptual temporalities and spatialities of postcoloniality, with an emphasis on the politics of form, the ‘postcolonial aesthetics’ through which filmmakers challenge themselves and their viewers to move beyond national and imperial imaginaries. Contributors include: Jude G. Akudinobi, Kanika Batra, Ruth Ben-Ghiat, Shohini Chaudhuri, Julie F. Codell, Sabine Doran, Hamish Ford, Claudia Hoffmann, Anikó Imre, Priya Jaikumar, Mariam B. Lam, Paulo de Medeiros, Sandra Ponzanesi, Richard Rice, Mireille Rosello and Marguerite Waller.
Postcolonial Cinema Studies
by Sandra Ponzanesi Marguerite WallerThis collection of essays foregrounds the work of filmmakers in theorizing and comparing postcolonial conditions, recasting debates in both cinema and postcolonial studies. Postcolonial cinema is presented, not as a rigid category, but as an optic through which to address questions of postcolonial historiography, geography, subjectivity, and epistemology. Current circumstances of migration and immigration, militarization, economic exploitation, racial and religious conflict, enactments of citizenship, and cultural self-representation have deep roots in colonial/postcolonial/neocolonial histories. Contributors deeply engage the tense asymmetries bequeathed to the contemporary world by the multiple,diverse, and overlapping histories of European, Soviet, U.S., and multi-national imperial ventures. With interdisciplinary expertise, they discover and explore the conceptual temporalities and spatialities of postcoloniality, with an emphasis on the politics of form, the ‘postcolonial aesthetics’ through which filmmakers challenge themselves and their viewers to move beyond national and imperial imaginaries. Contributors include: Jude G. Akudinobi, Kanika Batra, Ruth Ben-Ghiat, Shohini Chaudhuri, Julie F. Codell, Sabine Doran, Hamish Ford, Claudia Hoffmann, Anikó Imre, Priya Jaikumar, Mariam B. Lam, Paulo de Medeiros, Sandra Ponzanesi, Richard Rice, Mireille Rosello and Marguerite Waller.
Postcolonial Film: History, Empire, Resistance (Routledge Advances in Film Studies)
by Rebecca Weaver-Hightower Peter HulmePostcolonial Film: History, Empire, Resistance examines films of the later twentieth and early twenty-first centuries from postcolonial countries around the globe. In the mid twentieth century, the political reality of resistance and decolonization lead to the creation of dozens of new states, forming a backdrop to films of that period. Towards the century’s end and at the dawn of the new millennium, film continues to form a site for interrogating colonization and decolonization, though against a backdrop that is now more neo-colonial than colonial and more culturally imperial than imperial. This volume explores how individual films emerged from and commented on postcolonial spaces and the building and breaking down of the European empire. Each chapter is a case study examining how a particular film from a postcolonial nation emerges from and reflects that nation’s unique postcolonial situation. This analysis of one nation’s struggle with its coloniality allows each essay to investigate just what it means to be postcolonial.
Postcolonial Film: History, Empire, Resistance (Routledge Advances in Film Studies #30)
by Rebecca Weaver-Hightower Peter HulmePostcolonial Film: History, Empire, Resistance examines films of the later twentieth and early twenty-first centuries from postcolonial countries around the globe. In the mid twentieth century, the political reality of resistance and decolonization lead to the creation of dozens of new states, forming a backdrop to films of that period. Towards the century’s end and at the dawn of the new millennium, film continues to form a site for interrogating colonization and decolonization, though against a backdrop that is now more neo-colonial than colonial and more culturally imperial than imperial. This volume explores how individual films emerged from and commented on postcolonial spaces and the building and breaking down of the European empire. Each chapter is a case study examining how a particular film from a postcolonial nation emerges from and reflects that nation’s unique postcolonial situation. This analysis of one nation’s struggle with its coloniality allows each essay to investigate just what it means to be postcolonial.
Postcolonial Plays: An Anthology
by Helen GilbertThis collection of contemporary postcolonial plays demonstrates the extraordinary vitality of a body of work that is currently influencing the shape of contemporary world theatre. This anthology encompasses both internationally admired 'classics' and previously unpublished texts, all dealing with imperialism and its aftermath. It includes work from Canada, the Carribean, South and West Africa, Southeast Asia, India, New Zealand and Australia. A general introduction outlines major themes in postcolonial plays. Introductions to individual plays include information on authors as well as overviews of cultural contexts, major ideas and performance history.Dramaturgical techniques in the plays draw on Western theatre as well as local performance traditions and include agit-prop dialogue, musical routines, storytelling, ritual incantation, epic narration, dance, multimedia presentation and puppetry. The plays dramatize diverse issues, such as:*globalization* political corruption* race and class relations*slavery*gender and sexuality*media representation*nationalism
Postcolonial Plays: An Anthology
by Helen GilbertThis collection of contemporary postcolonial plays demonstrates the extraordinary vitality of a body of work that is currently influencing the shape of contemporary world theatre. This anthology encompasses both internationally admired 'classics' and previously unpublished texts, all dealing with imperialism and its aftermath. It includes work from Canada, the Carribean, South and West Africa, Southeast Asia, India, New Zealand and Australia. A general introduction outlines major themes in postcolonial plays. Introductions to individual plays include information on authors as well as overviews of cultural contexts, major ideas and performance history.Dramaturgical techniques in the plays draw on Western theatre as well as local performance traditions and include agit-prop dialogue, musical routines, storytelling, ritual incantation, epic narration, dance, multimedia presentation and puppetry. The plays dramatize diverse issues, such as:*globalization* political corruption* race and class relations*slavery*gender and sexuality*media representation*nationalism
Postcolonial Screen Adaptation and the British Novel
by Vivian Y. KaoThis book brings film adaptation of literature to bear on the question of how nineteenth-century imperial ideologies of progress continue to inform power inequalities in a global capitalist age. Not simply the promotion of general betterment for all, improvement in the British colonial context licensed a superior “master race” to “uplift” its colonized populations—morally, socially, and economically. This book argues that, on the one hand, film adaptations of nineteenth-century novels reveal the arrogance and coercive intentions that underpin contemporary notions of development, humanitarianism, and modernity—improvement’s post-Victorian guises. On the other hand, the book also argues that the films use their nineteenth-century source texts to criticize these same legacies of imperialism. By bringing together film adaptation, postcolonial theory, and literary studies, the book demonstrates that adaptation, as both method and cultural product, provides a way to engage with the baggage of ideological heritage in our contemporary global media environment.
Postcolonial Theory and Avatar (Film Theory in Practice)
by Gautam Basu ThakurThe Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. The second book in the series, Postcolonial Theory and Avatar offers a concise introduction to postcolonial theory in jargon-free language and shows how this theory can be deployed to interpret James Cameron's high-grossing, immensely popular, and critically acclaimed 2009 film. Avatar is widely celebrated for its politically and culturally sensitive critique of the "West's†? neocolonial wars and exploitation of the "global south†? – an allegory for (neo)colonialism – and for highlighting the plight of tribal communities throughout the world (for instance, the case of the Dongriah Kondh tribe of India). At the same time, it has been also criticized for repeating the colonialist fantasy of saving natives doomed by imperialist aggression. Intervening in this debate over how to read the film, Basu Thakur focuses on issues of representations, discourse, subalternity, and subjectivity, all of which have been central to postcolonial theory and postcolonial analyses of culture. This history will help students and scholars who are eager to learn more about this important area of theory and bring the concepts of postcolonial theory into practice through a detailed interpretation of the film.
Postcolonial Theory and Avatar (Film Theory in Practice)
by Gautam Basu ThakurThe Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. The second book in the series, Postcolonial Theory and Avatar offers a concise introduction to postcolonial theory in jargon-free language and shows how this theory can be deployed to interpret James Cameron's high-grossing, immensely popular, and critically acclaimed 2009 film. Avatar is widely celebrated for its politically and culturally sensitive critique of the “West's” neocolonial wars and exploitation of the “global south” – an allegory for (neo)colonialism – and for highlighting the plight of tribal communities throughout the world (for instance, the case of the Dongriah Kondh tribe of India). At the same time, it has been also criticized for repeating the colonialist fantasy of saving natives doomed by imperialist aggression. Intervening in this debate over how to read the film, Basu Thakur focuses on issues of representations, discourse, subalternity, and subjectivity, all of which have been central to postcolonial theory and postcolonial analyses of culture. This history will help students and scholars who are eager to learn more about this important area of theory and bring the concepts of postcolonial theory into practice through a detailed interpretation of the film.
Postdramatic Theatre
by Hans-Thies LehmannNewly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann’s groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical shift from a text-based culture to a new media age of image and sound. Engaging with theoreticians of 'drama' from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner Müller, the Wooster Group, Needcompany and Societas Raffaello Sanzio. Illustrated by a wealth of practical examples, and with an introduction by Karen Jürs-Munby providing useful theoretical and artistic contexts for the book, Postdramatic Theatre is an historical survey expertly combined with a unique theoretical approach which guides the reader through this new theatre landscape.
Postdramatic Theatre
by Hans-Thies LehmannNewly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann’s groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical shift from a text-based culture to a new media age of image and sound. Engaging with theoreticians of 'drama' from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner Müller, the Wooster Group, Needcompany and Societas Raffaello Sanzio. Illustrated by a wealth of practical examples, and with an introduction by Karen Jürs-Munby providing useful theoretical and artistic contexts for the book, Postdramatic Theatre is an historical survey expertly combined with a unique theoretical approach which guides the reader through this new theatre landscape.
Poster Girl
by Beccy ColeBeccy Cole's inspirational memoir from the heart of Australian country music.Beccy Cole has country music in her blood. Daughter of a country music star, Carole Sturtzel, she is one of the most popular country singer-songwriters in Australia today. This is the story of her life - in her own words.At fourteen, Beccy was performing in her mother's group, Wild Oats. By her late teens, Beccy had teamed up with the Dead Ringer Band - Kasey Chambers' family band - and had attracted the attention of the country music world by winning the Star Maker quest: the same award that started the careers of Keith Urban, Lee Kernaghan, James Blundell and Gina Jeffreys. It was just the first of many awards and accolades for this multitalented woman with a big heart.With refreshing candour, Beccy shares her story: leaving everything she knew to pursue her dream, making a name for herself with her own band; her marriage and motherhood; her subsequent divorce, becoming a single mother and maintaining the nurturing love of family. Performing for the Australian troops in Afghanistan. Coming out, and what it has meant for her and her fans. Taking control of her own life - and finding love.Heartfelt and honest, Poster Girl is the inspirational memoir of a strong woman who epitomises the authentic spirit of country music, and of Australia.
Postfeminism and Contemporary Hollywood Cinema
by Joel Gwynne and Nadine MullerBy analyzing the negotiation of femininities and masculinities within contemporary Hollywood cinema, Postfeminism and Contemporary Hollywood Cinema presents diverse interrogations of popular cinema and illustrates the need for a renewed scholarly focus on contemporary film production.
Postfeminism and Contemporary Vampire Romance: Representations of Gender and Sexuality in Film and Television (Library of Gender and Popular Culture)
by Lea GerhardsIn this book, Lea Gerhards traces connections between three recent vampire romance series; the Twilight film series (2008-2012), The Vampire Diaries (2009-2017) and True Blood (2008-2014), exploring their tremendous discursive and ideological power in order to understand the cultural politics of these extremely popular texts. She uses contemporary vampire romance to examine postfeminist ideologies and discuss gender, sexuality, subjectivity, agency and the body. Discussing a range of conflicting meanings contained in the narratives, Gerhards critically looks genre's engagement with everyday sexism and violence against women, power relations in heterosexual relationships, sexual autonomy and pleasure, (self-) empowerment, and (self-) surveillance. She asks: Why are these genre texts so popular right now, what specific desires, issues and fears are addressed and negotiated by them, and what kinds of pleasures do they offer?
Postfeminism and Contemporary Vampire Romance: Representations of Gender and Sexuality in Film and Television (Library of Gender and Popular Culture)
by Lea GerhardsIn this book, Lea Gerhards traces connections between three recent vampire romance series; the Twilight film series (2008-2012), The Vampire Diaries (2009-2017) and True Blood (2008-2014), exploring their tremendous discursive and ideological power in order to understand the cultural politics of these extremely popular texts. She uses contemporary vampire romance to examine postfeminist ideologies and discuss gender, sexuality, subjectivity, agency and the body. Discussing a range of conflicting meanings contained in the narratives, Gerhards critically looks genre's engagement with everyday sexism and violence against women, power relations in heterosexual relationships, sexual autonomy and pleasure, (self-) empowerment, and (self-) surveillance. She asks: Why are these genre texts so popular right now, what specific desires, issues and fears are addressed and negotiated by them, and what kinds of pleasures do they offer?
Postfeminism and the Fatale Figure in Neo-Noir Cinema
by Samantha LindopThis book is a thought-provoking study that expands on film scholarship on noir and feminist scholarship on postfeminism, subjectivity, and representation to provide an inclusive, sophisticated, and up-to-date analysis of the femme fatale , fille fatale , and homme fatal from the classic era through to recent postmillennial neo-noir .