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Artists, writers, and filmmakers Andy Warhol and J.G. Ballard to Alejandro González Iñárritu and Ousmane Sembène have repeatedly used representations of immobilized and crashed cars to wrestle with the conundrums of modernity. In Crash, Karen Beckman argues that representations of the crash parallel the encounter of film with other media, and that these collisions between media offer useful ways to think about alterity, politics, and desire. Examining the significance of automobile collisions in film genres including the?cinema of attractions,? slapstick comedies, and industrial-safety movies, Beckman reveals how the car crash gives visual form to fantasies and anxieties regarding speed and stasis, risk and safety, immunity and contamination, and impermeability and penetration. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film?s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema?s technology binds it to capitalism?s industrial systems and other media, technologies, and disciplines.
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In an expanded and updated follow up to his popular, first book, The Business of Acting: Learn the Skills You Need to Build the Career You Want, talent manager Brad Lemack offers both young, new-to-the-business and "working" actors a vital perspective on the changing landscape in which they seek to launch and grow their professional careers. The New Business of Acting: Create and Launch an Action Plan for Career Success teaches actors how to be smart, pro-active and strategic throughout their career journeys. Lemack teaches actors the critical, non-performance skills they need to build the careers they want -- and how to apply those skills in positive, professional and productive ways.Back Stage calls The Business of Acting a "must read" for actors. The New Business of Acting explores the revolution taking place in how business is conducted and how those dramatic changes impact how actors must conduct the business of their own careers.Certain to become another "must read," this empowering new book builds on the lessons taught in The Business of Acting, while addressing how to apply those lessons to the digital and economic landscape that is the "new" business of acting.Key chapters explore the changing roles of agents and manager, as well as the new demands on casting directors in the new landscape. Readers will learn the art of managing expectations, a required skill in learning how to act (and when not to) on the global Internet stage of self-submission opportunities.Creating and launching an action plan for success requires a perspective and an education on how to use the tools available to you and how to be a smart actor, always, along the journey.It's not about talent and performance; it's about planning and process.
Acting --- Performing Arts --- Performing arts
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Performing arts --- Theater --- Performing arts. --- Theater.
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Performing arts --- Theater --- Performing arts. --- Theater.
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Mutual borrowing, fluid transactions and transformations of performances and performers have a long and enduring history in Southeast Asia, but this trend has been heightened and made more vivid in the contemporary period. The omnipresence of global communications has provoked and inspired yet more novel experiments and collaborations between cosmopolitan artists and globally-oriented performers. This volume offers vital insights into recent developments in Southeast Asian performance. It dem...
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How do historians represent the past? How do theatre historians represent performance events? The fifteen challenging essays in Representing the Past: Essays in Performance Historiography focus on the fundamental epistemological conditions and procedures that serve as the foundational ideas that guide all historians in their endeavors. Unified by their investigations into how best to understand and then represent the past, this diverse group of scholars in the field of theatre history and performance studies offers insights into the abiding issues that all historians face in the task of
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