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Seeing Is Believing: The Revelation of God Through Film (Studies in Theology and the Arts Series)
by Richard Vance GoodwinHow might film reveal God?In its most basic form, film is a series of images displayed over time. Of course, film has developed greatly since the Lumière brothers by adding components such as sound, special effects, digital recording, and more to create an increasingly complex artistic medium. Historically, film studies has often focused on the narrative aspect of film as it seeks to tell a story. More recent studies, however, have turned attention to other elements of film, such as the musical score. Yet, film remains, in a sense, a series of images.In this study, the latest in IVP Academic's Studies in Theology and the Arts (STA) series, theologian Richard Goodwin considers how the images that constitute film might be a conduit of God's revelation. By considering works by Carl Theodor Dreyer, Stanley Kubrick, Paul Thomas Anderson, Robert Bresson, Martin Scorsese, Terrence Malick, and more, Goodwin argues that by inviting emotional responses, film images can be a medium of divine revelation.Blessed are those who have seen God... through film.
Seeing Politics: Film, Visual Method, and International Relations
by Sophie HarmanPushing the boundaries of how we do research, how we communicate research, and what counts as scholarship in world politics.
Seeing Politics: Film, Visual Method, and International Relations
by Sophie HarmanVisual politics and the aesthetic turn in international relations have emphasized the power of the image in world politics. Postcolonial and decolonial feminist theory shows the urgent need to rethink research and teaching methods. What happens when these concepts converge and such thinking is translated into practice? Engaging with a broad range of topics – the politics of everyday life, health, HIV/AIDS, Africa, post-colonialism, gender/feminist theory, visuality, film, and method – in Seeing Politics Sophie Harman looks at scholars who are pushing the boundaries of how they do research, how they communicate their research to a broader audience, and what counts as scholarship in world politics. Through a detailed exploration of the political process of film production, from inception and co-production to distribution and exhibition, she addresses the tricky transnational relationships, government gatekeeping, and global hierarchies of film governance that control and marginalize the stories and people we see. Fundamentally, Seeing Politics is about how narrative feature film challenges and advances the discipline of international relations, revealing aspects of politics that would otherwise remain unseen and unaddressed. Film is not just a way of communicating research. It is a method that produces research and visibility, advancing research practice and knowledge in international relations. Innovative and compelling, this book is about the politics of seeing, being seen, and what stops us from seeing.
Seeing Sarah Bernhardt: Performance and Silent Film
by Victoria DuckettThe most famous stage actress of the nineteenth century, Sarah Bernhardt enjoyed a surprising renaissance when the 1912 multi-reel film Queen Elizabeth vaulted her to international acclaim. The triumph capped her already lengthy involvement with cinema while enabling the indefatigable actress to reinvent herself in an era of technological and generational change. Placing Bernhardt at the center of the industry's first two decades, Victoria Duckett challenges the perception of her as an anachronism unable to appreciate film's qualities. Instead, cinema's substitution of translated title cards for her melodic French deciphered Bernhardt for Anglo-American audiences. It also allowed the aging actress to appear in the kinds of longer dramas she could no longer physically sustain onstage. As Duckett shows, Bernhardt contributed far more than star quality. Her theatrical practice on film influenced how the young medium changed the visual and performing arts. Her promoting of experimentation, meanwhile, shaped the ways audiences looked at and understood early cinema. A leading-edge reappraisal of a watershed era, Seeing Sarah Bernhardt tells the story of an icon who bridged two centuries--and changed the very act of watching film.
Seeing Symphonically: Avant-Garde Film, Urban Planning, and the Utopian Image of New York (SUNY series, Horizons of Cinema)
by Erica SteinCan the cinema imagine a different way of developing, using, and living in the city? Is it possible to do so using images of the extant city? Seeing Symphonically shows how a group of independent experimental, documentary, and feature films made in and about late modern New York City did just this. Between 1939 and 1964, as the city was being utterly remade by a combination of urban renewal projects, suburbanization, and high-rise public housing, the New York avant-garde reinvented the city symphony, a modernist form that depicted a day in the life of an urban environment through complex montage, optical effects, and street portraiture. Erica Stein documents how these New York City symphonies subverted and critiqued urban redevelopment through their aesthetics, particularly their rhythms, and, through those same rhythms, envisioned a world in which urban inhabitants have the absolute right to remake the city according to their needs, outside the demands of capital.
Seeing Things
by Alan AckermanA technological revolution has changed the way we see things. The storytelling media employed by Pixar Animation Studios, Samuel Beckett, and William Shakespeare differ greatly, yet these creators share a collective fascination with the nebulous boundary between material objects and our imaginative selves. How do the acts of seeing and believing remain linked? Alan Ackerman charts the dynamic history of interactions between showing and knowing in Seeing Things, a richly interdisciplinary study which illuminates changing modes of perception and modern representational media.Seeing Things demonstrates that the airy nothings of A Midsummer Night's Dream, the Ghost in Hamlet, and soulless bodies in Beckett's media experiments, alongside Toy Story's digitally animated toys, all serve to illustrate the modern problem of visualizing, as Hamlet put it, 'that within which passes show.' Ackerman carefully analyses such ghostly appearances and disappearances across cultural forms and contexts from the early modern period to the present, investigating the tension between our distrust of shadows and our abiding desire to believe in invisible realities. Seeing Things provides a fresh and surprising cultural history through theatrical, verbal, pictorial, and cinematic representations.
Seeing Things: Spectral Materialities of Bombay Horror (South Asia Across the Disciplines)
by Kartik NairIn 1980s India, the Ramsay Brothers and other filmmakers produced a wave of horror movies about soul-sucking witches, knife-wielding psychopaths, and dark-caped vampires. Seeing Things is about the sudden cuts, botched makeup effects, continuity errors, and celluloid damage found in these movies. Kartik Nair reads such "failures" as clues to the conditions in which the films were made, censored, and seen, offering a view from below of the world's largest film culture. By combining close analysis with extensive archival research and original interviews, Seeing Things reveals the spectral materialities informing the genre's haunted houses, grotesque bodies, and graphic violence.
Seeing Through: A Chronicle of Sex, Drugs, and Opera
by Ricky Ian GordonThe true confessions of a working opera composer: an exhilarating story of "a life that comes out of chaos." At eight years old, Ricky Ian Gordon pulled The Victor Book of Opera off his piano teacher’s bookshelf, and his world shifted on its axis. Though scandal, sadness, and confusion would shake that world over the next few decades, its polestar remained constant. Music has been the guiding force of Gordon’s life; through it, he has been able not only to survive great sorrow but also to capture the depths of his emotion in song. It is this strength, this technical and visceral genius, that has made him one of our generation’s greatest composers.In Seeing Through, Gordon writes with humor, insight, and incredible candor about his life and work: a tumultuous youth on Long Island, his artistic collaborations and obsessions, the creation of his compositions (including The Grapes of Wrath, 27, Orpheus and Euridice, Intimate Apparel, Ellen West, and more), his addictions and the abuses he endured, and the loss of his partner to AIDS and the devastation of the HIV/AIDS epidemic. As Gordon writes of that period: “We were, thousands of us, Lazarus. We had to rise from the ashes. We didn’t have to rebuild our lives, we had to build new ones.” Gordon has succeeded in building a remarkable life, as well as a body of work that bears witness to all he survived in the process—one that will endure as a pivotal chapter in America's songbook.
Seeing Through the Eighties: Television and Reaganism
by Jane FeuerThe 1980s saw the rise of Ronald Reagan and the New Right in American politics, the popularity of programs such as thirtysomething and Dynasty on network television, and the increasingly widespread use of VCRs, cable TV, and remote control in American living rooms. In Seeing Through the Eighties, Jane Feuer critically examines this most aesthetically complex and politically significant period in the history of American television in the context of the prevailing conservative ideological climate. With wit, humor, and an undisguised appreciation of TV, she demonstrates the richness of this often-slighted medium as a source of significance for cultural criticism and delivers a compelling decade-defining analysis of our most recent past. With a cast of characters including Michael, Hope, Elliot, Nancy, Melissa, and Gary; Alexis, Krystle, Blake, and all the other Carringtons; not to mention Maddie and David; even Crockett and Tubbs, Feuer smoothly blends close readings of well-known programs and analysis of television's commercial apparatus with a thorough-going theoretical perspective engaged with the work of Baudrillard, Fiske, and others. Her comparative look at Yuppie TV, Prime Time Soaps, and made-for-TV-movie Trauma Dramas reveals the contradictions and tensions at work in much prime-time programming and in the frustrations of the American popular consciousness. Seeing Through the Eighties also addresses the increased commodification of both the producers and consumers of television as a result of technological innovations and the introduction of new marketing techniques. Claiming a close relationship between television and the cultures that create and view it, Jane Feuer sees the eighties through televison while seeing through television in every sense of the word.
Seinfeld: The Making of an American Icon
by Jerry OppenheimerThe never-before-told story of how Jerry Seinfeld made his dream come true -- of how this very ambitious, extremely driven, compulsively perfectionistic carefully worked his way up through the knock-down-drag-out world of stand-up comedy as it began to explode in the mid-1970s, & how he went on to co-create in the late 80s what is considered to be the most successful TV sitcom in its history. From the start, Jerry has been extremely private about all aspects of his personal life. For more than a year, Oppenheimer conducted in-depth interviews with scores of Jerry s closes friends, family members, bus. assoc., lovers, & fellow comedians who spoke candidly, painting a riveting portrait of the beloved & talented comedian.
Seinfeld: The Official Cookbook
by Insight EditionsA Simon & Schuster eBook. Simon & Schuster has a great book for every reader.
Seinfeldia: How a Show About Nothing Changed Everything
by Jennifer Keishin Armstrong"Her book, as if she were a marine biologist, is a deep dive...Perhaps the highest praise I can give Seinfeldia is that it made me want to buy a loaf of marbled rye and start watching again, from the beginning." --Dwight Garner, The New York Times Book Review The hilarious behind-the-scenes story of two guys who went out for coffee and dreamed up Seinfeld--the cultural sensation that changed television and bled into the real world, altering the lives of everyone it touched.Comedians Larry David and Jerry Seinfeld never thought anyone would watch their silly little sitcom about a New York comedian sitting around talking to his friends. NBC executives didn't think anyone would watch either, but they bought it anyway, hiding it away in the TV dead zone of summer. But against all odds, viewers began to watch, first a few and then many, until nine years later nearly forty million Americans were tuning in weekly. In Seinfeldia, acclaimed TV historian and entertainment writer Jennifer Keishin Armstrong celebrates the creators and fans of this American television phenomenon, bringing readers behind-the-scenes of the show while it was on the air and into the world of devotees for whom it never stopped being relevant, a world where the Soup Nazi still spends his days saying "No soup for you!", Joe Davola gets questioned every day about his sanity, Kenny Kramer makes his living giving tours of New York sights from the show, and fans dress up in Jerry's famous puffy shirt, dance like Elaine, and imagine plotlines for Seinfeld if it were still on TV.
SeinLanguage
by Jerry SeinfeldThose who have watched Jerry Seinfeld's shows will hear his voice in this humorous writing.
The Selected Correspondence of Aaron Copland
by Wayne Shirley Aaron Copland Elizabeth Bergman CristThis is the first book devoted to the correspondence of composer Aaron Copland, covering his life from age eight to eighty-seven. The chronologically arranged collection includes letters to many significant figures in American twentieth-century music as well as Copland's friends, family, teachers, and colleagues. Selected for readability, interest, and the light they cast upon the composer's thoughts and career, the letters are carefully annotated and each published in its entirety. Copland was a gifted and natural letter writer who revealed much more about himself in his letters than in formal writings in which he was conscious of his position as spokesman for modern music. The collected letters offer insights into his music, personality, and ideas, along with fascinating glimpses into the lives of such other well-known musicians as Leonard Bernstein, Carlos Chávez, William Schuman, and Virgil Thomson.
Selected Correspondence of Charles Ives
by Tom C. OwensThis volume of 453 letters written by and to composer Charles Ives (1874-1954) provides an insight into one of the most extraordinary and paradoxical careers in American music history. This book opens a direct window on Ives's complex personality and his creative process.
The Selected Letters of Elia Kazan
by Elia KazanThis collection of nearly three hundred letters gives us the life of Elia Kazan unfiltered, with all the passion, vitality, and raw honesty that made him such an important and formidable stage director (A Streetcar Named Desire, Death of a Salesman), film director (On the Waterfront, East of Eden), novelist, and memoirist. Elia Kazan's lifelong determination to be a "sincere, conscious, practicing artist" resounds in these letters--fully annotated throughout--in every phase of his career: his exciting apprenticeship with the new and astonishing Group Theatre, as stagehand, stage manager, and actor (Waiting for Lefty, Golden Boy) . . . his first tentative and then successful attempts at directing for the theater and movies (The Skin of Our Teeth, A Tree Grows in Brooklyn) . . . his cofounding in 1947 of the Actors Studio and his codirection of the nascent Repertory Theater of Lincoln Center . . . his innovative and celebrated work on Broadway (All My Sons, Cat on a Hot Tin Roof, J.B.) and in Hollywood (Gentleman's Agreement, Splendor in the Grass, A Face in the Crowd, Baby Doll) . . . his birth as a writer. Kazan directed virtually back-to-back the greatest American dramas of the era--by Arthur Miller and Tennessee Williams--and helped shape their future productions. Here we see how he collaborated with these and other writers: Clifford Odets, Thornton Wilder, John Steinbeck, and Budd Schulberg among them. The letters give us a unique grasp of his luminous insights on acting, directing, producing, as he writes to and about Marlon Brando, James Dean, Warren Beatty, Robert De Niro, Boris Aronson, and Sam Spiegel, among others. We see Kazan's heated dealings with studio moguls Darryl Zanuck and Jack Warner, his principled resistance to film censorship, and the upheavals of his testimony before the House Committee on Un-American Activities. These letters record as well the inner life of the artist and the man. We see his startling candor in writing to his first wife, his confidante and adviser, Molly Day Thacher--they did not mince words with each other. And we see a father's letters to and about his children. An extraordinary portrait of a complex, intense, monumentally talented man who engaged the political, moral, and artistic currents of the twentieth century. From the Hardcover edition.
Selected Plays of Stan Lai: Volume 2: The Village and Other Plays
by Stan LaiStan Lai (Lai Shengchuan) is one of the most celebrated theatre practitioners working in the Chinese-speaking world. His work over three decades has pioneered the course of modern Chinese language theatre in Taiwan, China, and other Chinese speaking regions. "The preeminent Chinese playwright and stage director of this generation." (China Daily) "The best Chinese language playwright and director in the world." (BBC) Lai's works include masterpieces of the modern Chinese language theatre like Secret Love in Peach Blossom Land, The Village, and his epic 8 hour A Dream Like A Dream, all of which are in this collection. These volumes feature works from across Lai’s career, providing an exceptional selection of a diverse range of performances. Volume Two contains: Millennium Teahouse Sand on a Distant Star Like Shadows The Village Writing in Water
Selected Plays of Stan Lai: Volume 3: A Dream Like a Dream and Ago
by Stan LaiStan Lai (Lai Shengchuan) is one of the most celebrated theatre practitioners working in the Chinese-speaking world. His work over three decades has pioneered the course of modern Chinese language theatre in Taiwan, China, and other Chinese speaking regions. "The preeminent Chinese playwright and stage director of this generation." (China Daily) "The best Chinese language playwright and director in the world." (BBC) Lai's works include masterpieces of the modern Chinese language theatre like Secret Love in Peach Blossom Land, The Village, and his epic 8 hour A Dream Like A Dream, all of which are in this collection. These volumes feature works from across Lai’s career, providing an exceptional selection of a diverse range of performances. Volume Three contains: A Dream Like a Dream Ago
Selected Plays of Stan Lai: Volume 1: Secret Love in Peach Blossom Land and Other Plays
by Stan LaiStan Lai (Lai Shengchuan) is one of the most celebrated theatre practitioners working in the Chinese-speaking world. His work over three decades has pioneered the course of modern Chinese language theatre in Taiwan, China, and other Chinese speaking regions. "The preeminent Chinese playwright and stage director of this generation." (China Daily) "The best Chinese language playwright and director in the world." (BBC) Lai's works include masterpieces of the modern Chinese language theatre like Secret Love in Peach Blossom Land, The Village, and his epic 8 hour A Dream Like A Dream, all of which are in this collection. These volumes feature works from across Lai’s career, providing an exceptional selection of a diverse range of performances. Volume One contains: Secret Love in Peach Blossom Land Look Who's Crosstalking Tonight The Island and the Other Shore I Me She Him Ménage à 13
Selena's Secret: The Revealing Story Behind Her Tragic Death
by María Celeste Arrarás20th Anniversary Edition An intimate and investigative portrait of beloved Mexican American singer Selena Quintanilla’s murder by Emmy Award-winning journalist María Celeste Arrarás. Now with a new foreword and afterword by the author for the 20th Anniversary Edition.There is no doubt that Yolanda Saldívar pulled the trigger and killed Tejano superstar Selena Quintanilla Pérez on March 31, 1995. But does anyone know what really happened in Room 158 of the Days Inn, moments before the crime took place? María Celeste Arrarás has many answers, and her unrivaled coverage of the murder, trial, and aftermath made her the undisputed expert on the Selena case. Arrarás shares firsthand information about the crime and the people involved—including details of her headline-making jailhouse interview with Yolanda, who repeatedly spoke of “Selena’s secret”—a powerful hidden piece of information that she refused to divulge in the courtroom but revealed to Arrarás at length. Many questions were raised, and not all were answered until this revealing interview shed light on the crime. Why was there a suitcase filled with Selena’s clothes at the murder scene? What was the significance of the jeweled ring, adorned with the initial S that fell from Selena’s bloody fist? Who was the doctor from Monterrey who called himself Selena’s confidant and business adviser? Selena’s Secret fits together the pieces of this puzzle and depicts what really happened on that rainy day in March.
Selenidad: Selena, Latinos, and the Performance of Memory
by Deborah ParedezAn outpouring of memorial tributes and public expressions of grief followed the death of the Tejana recording artist Selena Quintanilla Prez in 1995. The Latina superstar was remembered and mourned in documentaries, magazines, websites, monuments, biographies, murals, look-alike contests, musicals, drag shows, and more. Deborah Paredez explores the significance and broader meanings of this posthumous celebration of Selena, which she labels "Selenidad. " She considers the performer's career and emergence as an icon within the political and cultural transformations in the United States during the 1990s, a decade that witnessed a "Latin explosion" in culture and commerce alongside a resurgence of anti-immigrant discourse and policy. Paredez argues that Selena's death galvanized Latina/o efforts to publicly mourn collective tragedies (such as the murders of young women along the U. S. -Mexico border) and to envision a brighter future. At the same time, reactions to the star's death catalyzed political jockeying for the Latino vote and corporate attempts to corner the Latino market. Foregrounding the role of performance in the politics of remembering, Paredez unravels the cultural, political, and economic dynamics at work in specific commemorations of Selena. She analyzes Selena's final concert, the controversy surrounding the memorial erected in the star's hometown of Corpus Christi, and the political climate that served as the backdrop to the touring musicals Selena Forever and Selena: A Musical Celebration of Life. Paredez considers what "becoming" Selena meant to the young Latinas who auditioned for the biopic Selena, released in 1997, and she surveys a range of Latina/o queer engagements with Selena, including Latina lesbian readings of the star's death scene and queer Selena drag. Selenidad is a provocative exploration of how commemorations of Selena reflected and changed Latinidad.
The Self-Centred Art: Ben Jonson's Parts in Performance (Studies in Performance and Early Modern Drama)
by Jakub BoguszakThe Self-Centred Art is a study of the plays of Ben Jonson and the actors who first performed in them. Jakub Boguszak shows how the idiosyncrasies of Jonson’s comic characters were thrown into relief in actors’ part-scripts—scrolls containing a single actor’s lines and cues—some five hundred of which are reconstructed here from Jonson’s seventeen extant plays. Reading Jonson’s spectating parts, humorous parts, apprentice parts, and plotting parts, Boguszak argues that the kind of self-absorption which defines so many of Jonson’s famous comic creations would have come easily to actors relying on these documents. Jonson’s actors would have moreover worked on their cues, studied their speeches, and thought about the information excluded from their parts differently, depending on the type they had to play. Boguszak thus shows that Jonson brilliantly adapted his comedies to the way the actors worked, making the actors’ self-centredness serve his art. This book addresses Jonson’s dealings with the actors as well as the printers of his plays and supplements the discussion of different types of parts with a colourful range of case studies. In doing so, it presents a new way of understanding not just Ben Jonson, but early modern theatre at large.
The Self in Performance: Autobiographical, Self-Revelatory, and Autoethnographic Forms of Therapeutic Theatre
by Susana Pendzik, Renée Emunah and David Read JohnsonThis book is the first to examine the performance of autobiographical material as a theatrical form, a research subject, and a therapeutic method. Contextualizing personal performance within psychological and theatrical paradigms, the book identifies and explores core concepts, such as the function of the director/therapist throughout the creative process, the role of the audience, and the dramaturgy involved in constructing such performances. It thus provides insights into a range of Autobiographic Therapeutic Performance forms, including Self-Revelatory and Autoethnographic Performance. Addressing issues of identity, memory, authenticity, self-reflection, self-indulgence, and embodied self-representation, the book presents, with both breadth and depth, a look at this fascinating field, gathering contributions by notable professionals around the world. Methods and approaches are illustrated with case examples that range from clients in private practice in California, through students in drama therapy training in the UK, to inmates in Lebanese prisons.
Self-Inflicted Wounds: Heartwarming Tales of Epic Humiliation
by Aisha TylerEmmy Award–winner Aisha Tyler shares her Self-Inflicted Wounds of epic mistakes through hilarious stories—and the life lessons she gained along the way.Refreshingly and sometimes brutally honest, surprising, and laugh-out-loud funny, the essays in this collection from comedian and actress Aisha Tyler vividly translate the brand of humor she has cultivated through her successful standup career, as well as the strong voice and unique point of view she expresses as a talk show and podcast host. Freely admitting moments of crushing personal embarrassment, Aisha celebrates the personal insights and authentic wisdom she earned from her experiences. Riotous, revealing, and wonderfully relatable, Self-Inflicted Wounds: Heartwarming Tales of Epic Humiliation is about the power of calamity to shape life, learning, and success.
Self-Projection: The Director’s Image in Art Cinema
by Linda Haverty RuggIn 1957, a decade before Roland Barthes announced the death of the author, François Truffaut called for a new era in which films would &“resemble the person who made&” them and be &“even more personal&” than an autobiographical novel. More than five decades on, it seems that Barthes has won the argument when it comes to most film critics. The cinematic author, we are told, has been dead for a long time. Yet Linda Haverty Rugg contends not only that the art cinema auteur never died, but that the films of some of the most important auteurs are intensely, if complexly, related to the lives and self-images of their directors. Self-Projection explores how nondocumentary narrative art films create alternative forms of collaborative self-representation and selfhood.The book examines the work of celebrated directors who plant autobiographical traces in their films, including Truffaut, Bergman, Fellini, Tarkovsky, Herzog, Allen, Almodóvar, and von Trier. It is not simply that these directors, and many others like them, make autobiographical references or occasionally appear in their films, but that they tie their films to their life stories and communicate that link to their audiences. Projecting a new kind of selfhood, these directors encourage identifications between themselves and their work even as they disavow such connections. And because of the collaborative and technological nature of filmmaking, the director&’s self-projection involves actors, audience, and the machines and institution of the cinema as well.Lively and accessible, Self-Projection sheds new light on the films of these iconic directors and on art cinema in general, ultimately showing how film can transform not only the autobiographical act but what it means to have a self.