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'Finding Balanchine's Lost Ballets' allows the reader to learn about one of the twentieth century's greatest artists in a way that has not before been possible. Balanchine's Russian ballets did not survive in the repertory, but this book demonstrates how some of these lost works need not be relegated to the pages of history but can and should be reconstructed, giving us a vision of our past as artists, scholars, and audiences. The book details the work of setting Balanchine's first group ballet, Funeral March, on the dancers of the Grand Rapids Ballet. It follows this project from archival studies to studio research with the dancers to a final performance.

Ballets --- Stories, plots, etc. --- Balanchine, George.

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Etre au-delà n'entend pas dresser une typologie des représentations de la mort au cinéma, mais plutôt de réfléchir au lien existant entre un art qui fait, étymologiquement, de l'écriture du mouvement son ambition et un événement qui a lieu chez tous les êtres vivants puisqu'il en conditionne la définition même. Filmer le vivant permet d'entretenir un rapport avec la mort : la conservation de ce qui s'échappe des êtres capturés par l'objectif est précieux. Nous regardons quelque chose qui n'est plus et, de fait, avons la possibilité, d'essayer d'y percevoir les glissements imperceptibles qui les entraînent vers un terme. La notion d'ensemble que revêt le film de par le montage qui a contribué à l'élaborer peut effectivement et rétrospectivement permettre à ce point final d'exister. Une expérience au-delà du sensible. Maîtrise du tout et de la partie : c'est à partir de ces qualités que se développe ce livre qui parlera autant de Federico Fellini que de John Wayne, autant de Torture Porn que de western classique, tant ce qui est son coeur est la base palpitante, émouvante, fébrile de toutes les formes de cinéma qui n'évoquent la mort que pour mieux rêver à ce qui peut la dépasser.

Mort --- Au cinéma --- Cinéma --- Mort. --- Thèmes, motifs. --- Motion pictures --- Death in motion pictures --- Plots, themes, etc. --- Thèmes, motifs --- Au cinéma.

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D'ordinaire négligé, l'argument théâtral s'avère en réalité jouer un rôle décisif dans le processus de lecture sinon dans le processus d'écriture relatif aux pièces auxquelles il est joint. Qu'il revête la forme d'un récit liminaire, figurant parmi les autres paratextes, d'une suite de résumés respectivement situés en amont des actes, ou encore d'un descriptif du spectacle lui-même, il sert de propédeutique au lecteur voire au spectateur. Il est également susceptible d'avoir constitué pour l'auteur une esquisse préparatoire, comme l'indique le terme de dessein par lequel il est parfois désigné. Issu d'éditions anciennes de comédies ou de tragédies antiques, le procédé renaît, en se renouvelant, à l'époque humaniste puis durant la période classique.

Theatrical science --- drama [literature] --- anno 1500-1599 --- anno 1600-1699 --- France --- French drama --- Plots (Drama, novel, etc.) --- Narration (Rhetoric) --- History and criticism --- French drama - 16th century - History and criticism --- French drama - 17th century - History and criticism --- drama [discipline]

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Neo-Noir as Post-Classical Hollywood Cinema suggests the terms “noir” and “neo-noir” have been rendered almost meaningless by overuse. The book seeks to re-establish a purpose for neo-noir films and re-consider the organization of 60 years of neo-noir films. Using the notion of post-classical, the book establishes how neo-noir breaks into many movements, some based on time and others based on thematic similarities. The combined movements then form a mosaic of neo-noir. The time-based movements examine Transitional Noir (1960s-early 1970s), Hollywood Renaissance Noir in the 1970s, Eighties Noir, Nineties Noir, and Digital Noir of the 2000s. The thematic movements explore Nostalgia Noir, Hybrid Noir, and Remake and Homage Noir. Academics as well as film buffs will find this book appealing as it deconstructs popular films and places them within new contexts.

Film noir --- History and criticism. --- Film genres. --- Motion pictures—United States. --- Genre. --- American Cinema and TV. --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- Plots, themes, etc. --- Film noir. --- United States.

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This book is one of the first to apply the theoretical tools proposed by French philosopher Bruno Latour, through the example of the American Teen Film genre. With a particular focus on Actor-Network Theory (ANT), the book delineates how Teen Film has established itself as one of Hollywood’s most consistent and dynamic genres. While many productions recycle formulaic patterns, coming-of-age narratives have become an arena for aesthetically and politically progressive, experimental, and complex films. The case studies develop a Latourian film semiotics as a flexible analytical approach which raises new questions, not only about the history, types and tropes of teen films, but also about their aesthetics, mediality, materiality, and composition. Through an exploration of a wide and diverse range of examples, including those by female and African-American directors, urban and rural perspectives, and non-heteronormative sexualities, this book demonstrates how the classic ‘teen film canon’ has been renewed, expanded and regurgitated.

Teen films --- Teen cinema --- Teen drama (Motion pictures) --- Teen movies --- Teen-targeted films --- Teenage films --- Teenage movies --- Teenpics --- Young adult films --- Youth films --- Motion pictures --- History and criticism. --- Film genres. --- Aesthetics. --- Genre. --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Genre films --- Genres, Film --- Motion picture genres --- Psychology --- Plots, themes, etc. --- Radio broadcasting Aesthetics --- Aesthetics