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Glutton: The Multi-Course Life of a Very Greedy Boy
by Ed Gamble‘This book made me laugh and then order an unholy amount of takeaway.’ GREG DAVIES‘One of my favourite comics has now written an annoyingly great book.’ ROMESH RANGANATHAN‘Full of belly laughs and full bellies, this book is warm, honest and wonderfully entertaining.’ TOM KERRIDGE'One of the funniest comedians in the world, Ed is only serious about one thing - dinners.'NISH KUMAR---The hilarious memoir from comedian, Off Menu host and Great British Menu judge, Ed Gamble.From a young age, Ed Gamble's immaculate bibs and extremely dirty nappies hinted at his capacious appetite. Before he could walk, Ed already knew that he preferred poached salmon to puree, that celery was a calorie-sapping waste of time, and that mashed potatoes should be made with lashings of butter.Whilst he might ordinarily have been upset by the calls of 'precocious little sh*t' coming from his family, he was too busy stuffing his gob and staging rebellions against the patronising list of misery that is a children's menu.In Glutton, Ed shares a relatable buffet of experiences and stories from a life lived through food. From the trials of being a diabetic with a sweet tooth to his teenage battles with obesity, to the joy of cooking and the power of food to bring us together, this is a wonderful, hilarious and heart-warming memoir of a delightful obsession.
Godard: A Portrait of the Artist at Seventy (Critical Quarterly Book Ser.)
by Colin MacCabeJean-Luc Godard's early films revolutionised the language of cinema for everyone, from the Superbrats of Hollywood to the political cinema of the Third World. Yet in l968 he abandoned one of the most brilliant careers in French cinema to pursue his investigations into sound and image on the periphery of the industry he had rejected. Following a protected childhood in Switzerland in the Second World War, the post-war years saw Godard as a troubled adolescent in Paris, where the prescribed courses of the Sorbonne were ignored in favour of the extraordinary teaching of André Bazin, the greatest of film critics. In the pages of Cahiers du Cinema, Godard - together with Truffaut, Rohmer, Rivette and Chabrol - hammered out an aesthetic that would take the world by storm as the young critics swapped pens for cameras at the end of the 1950s to create the cinema of the nouvelle vague. Hugely prolific in his first 10 years - A Bout de Souffle, Le Petit Soldat, Le Mepris, Pierrot Le Fou, Alphaville, Made in USA and many others all appeared in the 1960s - Godard became and remains one of the most adventurous and enigmatic film-directors at work in the world today.
Godard (BFI Silver)
by Richard RoudRichard Roud's Godard, first published in 1967 as 'Number One' in the seminal Cinema One series, was the first monograph on the great film-maker to be published in English, and one that reveals a unique intimacy between the author and his subject. Roud's provocative and far-reaching analysis shows an intuitive understanding of the aesthetic, intellectual and political context in which Godard worked, paying particular attention to his 'political' cinema, including the ferocious masterpiece Weekend (1967).In his foreword to this reissue, Michael Temple provides an overview of film criticism on Godard, arguing that, more than forty years since its publication, Roud's book remains at the forefront of writings on the director. Temple pinpoints how Roud was uniquely placed as a contemporary of Godard's to follow the film-maker's career from one explosive film to the next, charting the course of the Godardian star even as Roud's own career as a critic and festival programmer was unfolding. He contends that Roud's study was 'a pure product – and a faithful reflection – of a certain tendency in British film culture at the end of the 1960s: cinéphile, progressive, European, intellectual, metropolitan.' For Temple, Roud's work remains a lucid summary of what Godard had already achieved by the end of the 1960s, and provides a suggestive model of cultural criticism with which to approach subsequent aspects of Godard's multimedia artistic adventure.
Godard (BFI Silver)
by Richard RoudRichard Roud's Godard, first published in 1967 as 'Number One' in the seminal Cinema One series, was the first monograph on the great film-maker to be published in English, and one that reveals a unique intimacy between the author and his subject. Roud's provocative and far-reaching analysis shows an intuitive understanding of the aesthetic, intellectual and political context in which Godard worked, paying particular attention to his 'political' cinema, including the ferocious masterpiece Weekend (1967).In his foreword to this reissue, Michael Temple provides an overview of film criticism on Godard, arguing that, more than forty years since its publication, Roud's book remains at the forefront of writings on the director. Temple pinpoints how Roud was uniquely placed as a contemporary of Godard's to follow the film-maker's career from one explosive film to the next, charting the course of the Godardian star even as Roud's own career as a critic and festival programmer was unfolding. He contends that Roud's study was 'a pure product – and a faithful reflection – of a certain tendency in British film culture at the end of the 1960s: cinéphile, progressive, European, intellectual, metropolitan.' For Temple, Roud's work remains a lucid summary of what Godard had already achieved by the end of the 1960s, and provides a suggestive model of cultural criticism with which to approach subsequent aspects of Godard's multimedia artistic adventure.
Godard Between Identity and Difference
by John E. DrabinskiThis book reads a series of Godard films as interventions in contemporary debate about the language of difference. Godard has something he wants both to preserve (singularity) and destroy (visual and aural totalitarianism). How is it possible to speak about the Other? How is it possible for the Other to speak? Does all speaking about or by the Other render that speaking common, thereby rendering what is different identical? These questions gather together a number of issues that cross and intersect disciplinary boundaries: signification, representation, ethics, politics, and so on. The problematics with which Drabinski is concerned begin in the debate between Levinas and Derrida, then later in dialogue with Blanchot and Irigaray. To this extent, Godard is particularly well-suited as an interlocutor. Godard's work, especially in the 1970s, is itself a self-conscious form of philosophy. His films theorize themselves, produce a reflexive sound-image language, and so in many ways match the very essence of philosophy: thought thinking thought. Still, the medium of sound and image complicates any rendering of Godard's work as philosophy. Godard produces a philosophically significant cinematic language, rather than simply narrating or representing philosophical ideas in the medium of film. And this language must be taken seriously in the context of the problem of difference. For, if difference is concerned with signification as such, then the visual and aural retain equal rights with writing (and all questions obtaining therein). Indeed, if part of the problem of speaking about or by the Other is how such speaking traffics in inscription, then cinematic language is certainly an important - and authentically complex - intervention in that problem.The nature of the debate in this project - how the language of alterity is possible or impossible - immediately breaks disciplinary borders between philosophy, literary theory, film studies, and cultural studies. What it means to engage with film in this context, however, is complicated. To wit, there are two standard treatments of film in philosophy. Film is typically either an example of a philosophical position or philosophy is used to interpret motifs, characters, plot lines, etc. In neither case is film engaged as a form of philosophizing itself, that is, as a language engaged with philosophical problematics. It is articulating exactly this engagement that this book takes as its primary task. The aim of the project is to read Godard's work as primary texts, with all the attention due the idiosyncratic language of those texts. Framed by the debate about difference and signification, these primary texts register and resonate as transformative interventions. The overarching argument of the book is that Godard's conception and practice of cinematic language opens new, important possibilities for thinking about radical alterity.
Goddess: The Secret Lives Of Marilyn Monroe
by Anthony SummersThe classic, definitive biography of Marilyn Monroe, now updated in the year of the 50th anniversary of the iconic star's deathShe was born Norma Jeane but the world knew and loved her as Marilyn. Her life was one of unprecedented fame and private misery, her death a tragedy surrounded by mysteries. Drawing on first-hand interviews Anthony Summers offers both a classic biography and a shockingly revealing account of the screen goddess's relations with John and Robert Kennedy.'The definitive story of the legend ... more convincing at every page - told with all the coldness of truth and the authority of the historian, but at the end of it we still love Marilyn' Maeve Binchy, Irish Times
The Godfather (BFI Film Classics)
by Jon LewisFrancis Ford Coppola's The Godfather (1972) marked a transition in American film-making, and its success – as a work of art, as a creative 'property' exploited by its studio, Paramount Pictures; and as a model for aspiring auteurist film-makers – changed Hollywood forever. Jon Lewis's study of The Godfather begins with a close look at the film's audacious visual style (the long, theatrical set pieces; the chiaroscuro lighting, the climactic montage paralleling a family baptism with a series of brutal murders). The analysis of visual style is paired with a discussion of the movie's principal themes: Vito and Michael's attempt to balance the obligations of business and family, their struggle with assimilation, the temptations and pitfalls of capitalist accumulation, and the larger drama of succession from father to son, from one generation to the next. The textual analysis precedes a production history that views The Godfather as a singularly important film in Hollywood's dramatic box-office turnaround in the early 1970s. And then, finally, the book takes a long hard look at the gangster himself both on screen and off. Hollywood publicity attending the gangster film from its inception in the silent era to the present has endeavoured to dull the distinction between the real and movie gangster, insisting that each film has been culled from the day's sordid headlines. Looking at the drama on screen and the production history behind the scenes, Lewis uncovers a series of real gangster backstories, revealing, finally, how millions of dollars of mob money may well have funded the film in the first place, and how, as things played out, The Godfather saved Paramount Studios and the rest of Hollywood as well.
The Godfather (BFI Film Classics)
by Jon LewisFrancis Ford Coppola's The Godfather (1972) marked a transition in American film-making, and its success – as a work of art, as a creative 'property' exploited by its studio, Paramount Pictures; and as a model for aspiring auteurist film-makers – changed Hollywood forever. Jon Lewis's study of The Godfather begins with a close look at the film's audacious visual style (the long, theatrical set pieces; the chiaroscuro lighting, the climactic montage paralleling a family baptism with a series of brutal murders). The analysis of visual style is paired with a discussion of the movie's principal themes: Vito and Michael's attempt to balance the obligations of business and family, their struggle with assimilation, the temptations and pitfalls of capitalist accumulation, and the larger drama of succession from father to son, from one generation to the next. The textual analysis precedes a production history that views The Godfather as a singularly important film in Hollywood's dramatic box-office turnaround in the early 1970s. And then, finally, the book takes a long hard look at the gangster himself both on screen and off. Hollywood publicity attending the gangster film from its inception in the silent era to the present has endeavoured to dull the distinction between the real and movie gangster, insisting that each film has been culled from the day's sordid headlines. Looking at the drama on screen and the production history behind the scenes, Lewis uncovers a series of real gangster backstories, revealing, finally, how millions of dollars of mob money may well have funded the film in the first place, and how, as things played out, The Godfather saved Paramount Studios and the rest of Hollywood as well.
The Godfather (BFI Film Classics)
by Jon LewisFrancis Ford Coppola's The Godfather (1972) marked a transition in American film-making, and its success – as a work of art, as a creative 'property' exploited by its studio, Paramount Pictures; and as a model for aspiring auteurist film-makers – changed Hollywood forever. Jon Lewis's study of The Godfather begins with a close look at the film's audacious visual style (the long, theatrical set pieces; the chiaroscuro lighting, the climactic montage paralleling a family baptism with a series of brutal murders). The analysis of visual style is paired with a discussion of the movie's principal themes: Vito and Michael's attempt to balance the obligations of business and family, their struggle with assimilation, the temptations and pitfalls of capitalist accumulation, and the larger drama of succession from father to son, from one generation to the next. The textual analysis precedes a production history that views The Godfather as a singularly important film in Hollywood's dramatic box-office turnaround in the early 1970s. And then, finally, the book takes a long hard look at the gangster himself both on screen and off. Hollywood publicity attending the gangster film from its inception in the silent era to the present has endeavoured to dull the distinction between the real and movie gangster, insisting that each film has been culled from the day's sordid headlines. Looking at the drama on screen and the production history behind the scenes, Lewis uncovers a series of real gangster backstories, revealing, finally, how millions of dollars of mob money may well have funded the film in the first place, and how, as things played out, The Godfather saved Paramount Studios and the rest of Hollywood as well.
The Godfather (BFI Film Classics)
by Jon LewisFrancis Ford Coppola's The Godfather (1972) marked a transition in American film-making, and its success – as a work of art, as a creative 'property' exploited by its studio, Paramount Pictures; and as a model for aspiring auteurist film-makers – changed Hollywood forever. Jon Lewis's study of The Godfather begins with a close look at the film's audacious visual style (the long, theatrical set pieces; the chiaroscuro lighting, the climactic montage paralleling a family baptism with a series of brutal murders). The analysis of visual style is paired with a discussion of the movie's principal themes: Vito and Michael's attempt to balance the obligations of business and family, their struggle with assimilation, the temptations and pitfalls of capitalist accumulation, and the larger drama of succession from father to son, from one generation to the next. The textual analysis precedes a production history that views The Godfather as a singularly important film in Hollywood's dramatic box-office turnaround in the early 1970s. And then, finally, the book takes a long hard look at the gangster himself both on screen and off. Hollywood publicity attending the gangster film from its inception in the silent era to the present has endeavoured to dull the distinction between the real and movie gangster, insisting that each film has been culled from the day's sordid headlines. Looking at the drama on screen and the production history behind the scenes, Lewis uncovers a series of real gangster backstories, revealing, finally, how millions of dollars of mob money may well have funded the film in the first place, and how, as things played out, The Godfather saved Paramount Studios and the rest of Hollywood as well.
The Godfather Doctrine: A Foreign Policy Parable
by John C. Hulsman A. Wess MitchellThe Godfather Doctrine draws clear and essential lessons from perhaps the greatest Hollywood movie ever made to illustrate America's changing geopolitical place in the world and how our country can best meet the momentous strategic challenges it faces. In the movie The Godfather, Don Corleone, head of New York's most powerful organized-crime family, is shockingly gunned down in broad daylight, leaving his sons Sonny and Michael, along with his adopted son, consigliere Tom Hagen, to chart a new course for the family. In The Godfather Doctrine, John Hulsman and Wess Mitchell show how the aging and wounded don is emblematic of cold-war American power on the decline in a new world where our enemies play by unfamiliar rules, and how the don's heirs uncannily exemplify the three leading schools of American foreign policy today. Tom, the left-of-center liberal institutionalist, thinks the old rules still apply and that negotiation is the answer. Sonny is the Bush-era neocon who shoots first and asks questions later, proving an easy target for his enemies. Only Michael, the realist, has a sure feel for the changing scene, recognizing the need for flexible combinations of soft and hard power to keep the family strong and maintain its influence and security in a dangerous and rapidly changing world. Based on Hulsman and Mitchell's groundbreaking and widely debated article, "Pax Corleone," The Godfather Doctrine explains for everyone why Francis Ford Coppola's epic story about a Mafia dynasty holds key insights for ensuring America's survival in the twenty-first century.
The Godfather Doctrine: A Foreign Policy Parable
by John C. Hulsman A. Wess MitchellThe Godfather Doctrine draws clear and essential lessons from perhaps the greatest Hollywood movie ever made to illustrate America's changing geopolitical place in the world and how our country can best meet the momentous strategic challenges it faces. In the movie The Godfather, Don Corleone, head of New York's most powerful organized-crime family, is shockingly gunned down in broad daylight, leaving his sons Sonny and Michael, along with his adopted son, consigliere Tom Hagen, to chart a new course for the family. In The Godfather Doctrine, John Hulsman and Wess Mitchell show how the aging and wounded don is emblematic of cold-war American power on the decline in a new world where our enemies play by unfamiliar rules, and how the don's heirs uncannily exemplify the three leading schools of American foreign policy today. Tom, the left-of-center liberal institutionalist, thinks the old rules still apply and that negotiation is the answer. Sonny is the Bush-era neocon who shoots first and asks questions later, proving an easy target for his enemies. Only Michael, the realist, has a sure feel for the changing scene, recognizing the need for flexible combinations of soft and hard power to keep the family strong and maintain its influence and security in a dangerous and rapidly changing world. Based on Hulsman and Mitchell's groundbreaking and widely debated article, "Pax Corleone," The Godfather Doctrine explains for everyone why Francis Ford Coppola's epic story about a Mafia dynasty holds key insights for ensuring America's survival in the twenty-first century.
The Godfather, Part II (BFI Film Classics)
by Jon LewisFrancis Ford Coppola's The Godfather, Part II (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be. Jon Lewis's study of Coppola's masterpiece provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate.
The Godfather, Part II (BFI Film Classics)
by Jon LewisFrancis Ford Coppola's The Godfather, Part II (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be. Jon Lewis's study of Coppola's masterpiece provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate.
Gods, ghosts and black dogs: The fascinating folklore and mythology of dogs
by Stanley CorenA rich collection of folklore, mythology and tall tales concerning dogs, providing a fascinating insight into the way we think about dogs, and our emotional bond with them.Spooky, funny, sad and inspiring stories: some of which engage that part of our brain we use when reading detective stories; trying to figure out what's going to happen next ...Gathered from all over the world, and from many different time periods, in these captivating tales meet historical figures such as George Washington and Davy Crockett, and mythical beings such as Paul Bunyan, the god Zeus and the hero Odysseus, and discover the role that dogs play. Learn how the Dalmatian got his spots, and why Basenjis don't bark; whether there are dogs in heaven, and if the devil might have a dog.Facts, history, humour and mystery blend together in this enthralling collection of tales about man's best friend.
Godzilla: The Official Guide to the King of the Monsters
by Graham Skipper Toho Co. LtdDiscover the complete history of Godzilla in this definitive, official guide to the King of the Monsters. Godzilla: The Official Guide to the King of the Monsters celebrates more than 60 years of movie mayhem in an exceptional, fully illustrated book. An official publication in partnership with Toho Co., this must-read guide brings together every incarnation of the world's most famous creature for the first time – including all the Japanese and Western movies, as well as Godzilla's most celebrated appearances in TV, comics and video games.Inside you'll find detailed reviews, spectacular stills and behind-the-scenes images from every Godzilla movie, from 1954's Gojira to 2021's Godzilla vs. Kong, along with countless insights into the making of one of cinema's most enduring, innovative and successful franchises. Packed with essential info, incredible trivia and stunning artwork, this is the ultimate illustrated reference to all things Godzilla.
The GoFaSt Guide To Screenwriting: The Goals, Failures, and Stakes Model of Narrative Storytelling
by Greg TakoudesCreator of the GoFaSt Model, author Greg Takoudes introduces a comprehensive study of the structural models of screenwriting and provides readers with an adaptive framework for writing successful scripts. With a new approach which reframes discussions and offers alternatives to students and writers who find conventional models creatively constricting, Takoudes draws from both teaching and professional experience to provide a new model of screenwriting that is designed to be adaptive to various types of scripts. The book is structured in three parts. First, it introduces the GoFast Model – allowing for less orthodox writers to keep their unique voices by breaking scripts down into smaller parts and encouraging more flexibility to write in an organized way, without feeling stifled. Second, the book explores several writing scenarios – featuring the practical uses of the model and a step-by-step script structure spanning chapters on a horror, superhero, and heist movie. Third, it concludes with detailed case studies exploring how the GoFaSt Model can be applied to break down scripts including Get Out, The Marvelous Mrs Maisel, and Portrait of a Lady on Fire. It is an ideal text for screenwriting students and aspiring screenwriters interested in learning how working writers put structural models into practice, as well professional screenwriters, producers, and development executives looking for new ways to think about writing, feedback, and development.
The GoFaSt Guide To Screenwriting: The Goals, Failures, and Stakes Model of Narrative Storytelling
by Greg TakoudesCreator of the GoFaSt Model, author Greg Takoudes introduces a comprehensive study of the structural models of screenwriting and provides readers with an adaptive framework for writing successful scripts. With a new approach which reframes discussions and offers alternatives to students and writers who find conventional models creatively constricting, Takoudes draws from both teaching and professional experience to provide a new model of screenwriting that is designed to be adaptive to various types of scripts. The book is structured in three parts. First, it introduces the GoFast Model – allowing for less orthodox writers to keep their unique voices by breaking scripts down into smaller parts and encouraging more flexibility to write in an organized way, without feeling stifled. Second, the book explores several writing scenarios – featuring the practical uses of the model and a step-by-step script structure spanning chapters on a horror, superhero, and heist movie. Third, it concludes with detailed case studies exploring how the GoFaSt Model can be applied to break down scripts including Get Out, The Marvelous Mrs Maisel, and Portrait of a Lady on Fire. It is an ideal text for screenwriting students and aspiring screenwriters interested in learning how working writers put structural models into practice, as well professional screenwriters, producers, and development executives looking for new ways to think about writing, feedback, and development.
Gogo Breeze: Zambia’s Radio Elder and the Voices of Free Speech
by Harri EnglundWhen Breeze FM, a radio station in the provincial Zambian town of Chipata, hired an elderly retired schoolteacher in 2003, no one anticipated the skyrocketing success that would follow. A self-styled grandfather on air, Gogo Breeze seeks intimacy over the airwaves and dispenses advice on a wide variety of grievances and transgressions. Multiple voices are broadcast and juxtaposed through call-ins and dialogue, but free speech finds its ally in the radio elder who, by allowing people to be heard and supporting their claims, reminds authorities of their obligations toward the disaffected. Harri Englund provides a masterfully detailed study of this popular radio personality that addresses broad questions of free speech in Zambia and beyond. By drawing on ethnographic insights into political communication, Englund presents multivocal morality as an alternative to dominant Euro-American perspectives, displacing the simplistic notion of voice as individual personal property—an idea common in both policy and activist rhetoric. Instead, Englund focuses on the creativity and polyphony of Zambian radio while raising important questions about hierarchy, elderhood, and ethics in the public sphere. A lively, engaging portrait of an extraordinary personality, Gogo Breeze will interest Africanists, scholars of radio and mass media, and anyone interested in the history and future of free speech.
Gogo Breeze: Zambia’s Radio Elder and the Voices of Free Speech
by Harri EnglundWhen Breeze FM, a radio station in the provincial Zambian town of Chipata, hired an elderly retired schoolteacher in 2003, no one anticipated the skyrocketing success that would follow. A self-styled grandfather on air, Gogo Breeze seeks intimacy over the airwaves and dispenses advice on a wide variety of grievances and transgressions. Multiple voices are broadcast and juxtaposed through call-ins and dialogue, but free speech finds its ally in the radio elder who, by allowing people to be heard and supporting their claims, reminds authorities of their obligations toward the disaffected. Harri Englund provides a masterfully detailed study of this popular radio personality that addresses broad questions of free speech in Zambia and beyond. By drawing on ethnographic insights into political communication, Englund presents multivocal morality as an alternative to dominant Euro-American perspectives, displacing the simplistic notion of voice as individual personal property—an idea common in both policy and activist rhetoric. Instead, Englund focuses on the creativity and polyphony of Zambian radio while raising important questions about hierarchy, elderhood, and ethics in the public sphere. A lively, engaging portrait of an extraordinary personality, Gogo Breeze will interest Africanists, scholars of radio and mass media, and anyone interested in the history and future of free speech.
Gogo Breeze: Zambia’s Radio Elder and the Voices of Free Speech
by Harri EnglundWhen Breeze FM, a radio station in the provincial Zambian town of Chipata, hired an elderly retired schoolteacher in 2003, no one anticipated the skyrocketing success that would follow. A self-styled grandfather on air, Gogo Breeze seeks intimacy over the airwaves and dispenses advice on a wide variety of grievances and transgressions. Multiple voices are broadcast and juxtaposed through call-ins and dialogue, but free speech finds its ally in the radio elder who, by allowing people to be heard and supporting their claims, reminds authorities of their obligations toward the disaffected. Harri Englund provides a masterfully detailed study of this popular radio personality that addresses broad questions of free speech in Zambia and beyond. By drawing on ethnographic insights into political communication, Englund presents multivocal morality as an alternative to dominant Euro-American perspectives, displacing the simplistic notion of voice as individual personal property—an idea common in both policy and activist rhetoric. Instead, Englund focuses on the creativity and polyphony of Zambian radio while raising important questions about hierarchy, elderhood, and ethics in the public sphere. A lively, engaging portrait of an extraordinary personality, Gogo Breeze will interest Africanists, scholars of radio and mass media, and anyone interested in the history and future of free speech.
Gogo Breeze: Zambia’s Radio Elder and the Voices of Free Speech
by Harri EnglundWhen Breeze FM, a radio station in the provincial Zambian town of Chipata, hired an elderly retired schoolteacher in 2003, no one anticipated the skyrocketing success that would follow. A self-styled grandfather on air, Gogo Breeze seeks intimacy over the airwaves and dispenses advice on a wide variety of grievances and transgressions. Multiple voices are broadcast and juxtaposed through call-ins and dialogue, but free speech finds its ally in the radio elder who, by allowing people to be heard and supporting their claims, reminds authorities of their obligations toward the disaffected. Harri Englund provides a masterfully detailed study of this popular radio personality that addresses broad questions of free speech in Zambia and beyond. By drawing on ethnographic insights into political communication, Englund presents multivocal morality as an alternative to dominant Euro-American perspectives, displacing the simplistic notion of voice as individual personal property—an idea common in both policy and activist rhetoric. Instead, Englund focuses on the creativity and polyphony of Zambian radio while raising important questions about hierarchy, elderhood, and ethics in the public sphere. A lively, engaging portrait of an extraordinary personality, Gogo Breeze will interest Africanists, scholars of radio and mass media, and anyone interested in the history and future of free speech.
Gogo Breeze: Zambia’s Radio Elder and the Voices of Free Speech
by Harri EnglundWhen Breeze FM, a radio station in the provincial Zambian town of Chipata, hired an elderly retired schoolteacher in 2003, no one anticipated the skyrocketing success that would follow. A self-styled grandfather on air, Gogo Breeze seeks intimacy over the airwaves and dispenses advice on a wide variety of grievances and transgressions. Multiple voices are broadcast and juxtaposed through call-ins and dialogue, but free speech finds its ally in the radio elder who, by allowing people to be heard and supporting their claims, reminds authorities of their obligations toward the disaffected. Harri Englund provides a masterfully detailed study of this popular radio personality that addresses broad questions of free speech in Zambia and beyond. By drawing on ethnographic insights into political communication, Englund presents multivocal morality as an alternative to dominant Euro-American perspectives, displacing the simplistic notion of voice as individual personal property—an idea common in both policy and activist rhetoric. Instead, Englund focuses on the creativity and polyphony of Zambian radio while raising important questions about hierarchy, elderhood, and ethics in the public sphere. A lively, engaging portrait of an extraordinary personality, Gogo Breeze will interest Africanists, scholars of radio and mass media, and anyone interested in the history and future of free speech.
Gogo Breeze: Zambia’s Radio Elder and the Voices of Free Speech
by Harri EnglundWhen Breeze FM, a radio station in the provincial Zambian town of Chipata, hired an elderly retired schoolteacher in 2003, no one anticipated the skyrocketing success that would follow. A self-styled grandfather on air, Gogo Breeze seeks intimacy over the airwaves and dispenses advice on a wide variety of grievances and transgressions. Multiple voices are broadcast and juxtaposed through call-ins and dialogue, but free speech finds its ally in the radio elder who, by allowing people to be heard and supporting their claims, reminds authorities of their obligations toward the disaffected. Harri Englund provides a masterfully detailed study of this popular radio personality that addresses broad questions of free speech in Zambia and beyond. By drawing on ethnographic insights into political communication, Englund presents multivocal morality as an alternative to dominant Euro-American perspectives, displacing the simplistic notion of voice as individual personal property—an idea common in both policy and activist rhetoric. Instead, Englund focuses on the creativity and polyphony of Zambian radio while raising important questions about hierarchy, elderhood, and ethics in the public sphere. A lively, engaging portrait of an extraordinary personality, Gogo Breeze will interest Africanists, scholars of radio and mass media, and anyone interested in the history and future of free speech.
Gogol's Government Inspector (PDF)
by David HarrowerThe news that a government inspector is due to arrive in a small Russian town sends its bureaucrats into a panicked frenzy. A simple case of mistaken identity exposes the hypocrisy and corruption at the heart of the town in this biting moral satire. David Harrower's version of Nikolai Gogol's Government Inspector premiered at the Warwick Arts Centre in May 2011 and transferred to Young Vic, London in June.