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Women, Politics and Performance in South African Theatre Today: Volume 2

by Goodman L

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Women, Politics and Performance in South African Theatre Today Vol 3 (Contemporary Theatre Review Ser. #Vols. 9, Pts. 3.)

by Lizbeth Goodman

This title available in eBook format. Click here for more information.Visit our eBookstore at: www.ebookstore.tandf.co.uk.

Women Screenwriters: An International Guide

by Jill Nelmes Jule Selbo

Women Screenwriters is a study of more than 300 female writers from 60 nations, from the first film scenarios produced in 1986 to the present day. Divided into six sections by continent, the entries give an overview of the history of women screenwriters in each country, as well as individual biographies of its most influential.

Women Who Dared: To Break All the Rules

by Jeremy Scott

Victoria Woodhull, Mary Wollstonecraft, Aimee Semple McPherson, Edwina Mountbatten, Margaret Argyll and Chanel were all women who dared. They had no time for what society said they could and couldn&’t do and would see the world bend before they did. In 1872 a mesmerising psychic named Victoria Woodhull shattered tradition by running for the White House. Had she won the ensuing spectacle would surely have rivalled that of our own era. Abhorring such flamboyance, Mary Wollstonecraft inspired a revolution of thought with her pen as she issued women&’s first manifesto – still to be fulfilled. From Aimee Semple McPherson, the first female preacher in America, to Coco Chanel, designer of an empire, these women became the change they wanted to see in society. In Women Who Dared, Jeremy Scott pays tribute to them all with wit, verve and reverence.

The Women Who Knew Too Much: Hitchcock and Feminist Theory

by Tania Modleski

Originally published in 1988, The Women Who Knew Too Much remains a classic work in film theory and feminist criticism. The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock, each of which provides a basis for an analysis of the female spectator as well as of the male spectator. Modleski considers the emotional and psychic investments of men and women in female characters whose stories often undermine the mastery of the cinematic "master of suspense." The third edition features an interview with the author by David Greven, in which he and Modleski reflect on how feminist and queer approaches to Hitchcock studies may be brought into dialogue. A teaching guide and discussion questions by Ned Schantz help instructors and students to delve into this seminal work of feminist film theory.

The Women Who Raised Me

by Victoria Rowell

Born as a ward of the state of Maine, the child of an unmarried Yankee blueblood mother and an unknown black father, Victoria Rowell beat the odds. The Women Who Raised Me is the remarkable story of her rise out of the foster care system to attain the American Dream--and of the unlikely series of women who lifted, motivated, and inspired her along the way. From Agatha Armstead--a black Bostonian who was Victoria's longest-term foster mother and first noticed her spark of creativity and talent--to Esther Brooks, a Paris-trained prima ballerina who would become her first mentor at the Cambridge School of Ballet--The Women Who Raised Me is a loving, vivid portrait of all the women who would help Victoria transition out of foster care and into New York City's wild worlds of ballet, acting, and adulthood. Though Victoria would go on to become an accomplished television and film star, she still carried the burden of loneliness and anxiety, particularly common to those "orphans of the living" who are never adopted. Vividly recalled and candidly told, her story is transfixing, redemptive, heartbreaking, and, ultimately, inspiring.

Women's Cinema: The Contested Screen (Short Cuts)

by Alison Butler

Women's Cinema provides an introduction to critical debates around women's filmmaking and relates those debates to a variety of cinematic practices. Taking her cue from the groundbreaking theories of Claire Johnston, Alison Butler argues that women's cinema is a minor cinema that exists inside other cinemas, inflecting and contesting the codes and systems of the major cinematic traditions from within. Using canonical directors and less established names, ranging from Chantal Akerman to Moufida Tlatli, as examples, Butler argues that women's cinema is unified in spite of its diversity by the ways in which it reworks cinematic conventions.

Women’s Cinema, World Cinema: Projecting Contemporary Feminisms

by Patricia White

In Women's Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women's Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.

Women’s Experimental Cinema: Critical Frameworks

by Noel Carroll Robin Blaetz Christine Holmlund Paul Arthur Melissa Ragona

Women's Experimental Cinema provides lively introductions to the work of fifteen avant-garde women filmmakers, some of whom worked as early as the 1950s and many of whom are still working today. In each essay in this collection, a leading film scholar considers a single filmmaker, supplying biographical information, analyzing various influences on her work, examining the development of her corpus, and interpreting a significant number of individual films. The essays rescue the work of critically neglected but influential women filmmakers for teaching, further study, and, hopefully, restoration and preservation. Just as importantly, they enrich the understanding of feminism in cinema and expand the terrain of film history, particularly the history of the American avant-garde.The contributors examine the work of Marie Menken, Joyce Wieland, Gunvor Nelson, Yvonne Rainer, Carolee Schneemann, Barbara Rubin, Amy Greenfield, Barbara Hammer, Chick Strand, Marjorie Keller, Leslie Thornton, Abigail Child, Peggy Ahwesh, Su Friedrich, and Cheryl Dunye. The essays highlight the diversity in these filmmakers' forms and methods, covering topics such as how Menken used film as a way to rethink the transition from abstract expressionism to Pop Art in the 1950s and 1960s, how Rubin both objectified the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, including a tendency toward documentary rather than fiction and a commitment to nonhierarchical, collaborative production practices. The volume's final essay focuses explicitly on teaching women's experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by suggesting alternative films for classroom use.Contributors. Paul Arthur, Robin Blaetz, Noël Carroll, Janet Cutler, Mary Ann Doane, Robert A. Haller, Chris Holmlund, Chuck Kleinhans, Scott MacDonald, Kathleen McHugh, Ara Osterweil, Maria Pramaggiore, Melissa Ragona, Kathryn Ramey, M. M. Serra, Maureen Turim, William C. Wees

Women's Narrative and Film in 20th Century Spain

by Kathleen Glenn

Women's Narrative and Film in 20th Century Spain examines the development of the feminine cultural tradition in spain and how this tradition reshaped and defined a Spanish national identity. Each chapter focuses on representation of autobiography, alienation and exile, marginality, race, eroticism, political activism, and feminism within the ever-changing nationalisms in different regions of Spain. The book describes how concepts of gender and difference shaped the individual, collective, and national identities of Spanish women and significantly modified the meaning and representation of female sexuality.

Wonder Show

by Hannah Barnaby

Ladies and gentlemen, boys and girls, step inside Mosco's Traveling Wonder Show, amenagerie of human curiosities and misfits guaranteed to astound and amaze!But perhaps the strangest act of Mosco's display is Portia Remini, a normal amongthe freaks, on the run from McGreavy's Home for Wayward Girls, where Misterwatches and waits. He said he would always find Portia, that she could never leave.Free at last, Portia begins a new life on the bally, seeking answers about her father'sdisappearance. Will she find him before Mister finds her? It's a story for the ages, andlike everyone who enters the Wonder Show, Portia will never be the same.

Wonder Woman: Ambassador of Truth

by Signe Bergstrom

A gorgeous, authorized celebration of one of the most popular and enduring Super Heroes of all time—Wonder Woman—that chronicles the life and times of this pop-culture phenomenon and image of women’s strength and power, from her origins and role as a founding member of the Justice League to her evolution in television and film. "As lovely as Aphrodite—as wise as Athena—with the speed of Mercury and the strength of Hercules—she is known only as Wonder Woman, but who she is, or whence she came, nobody knows!"—All-Star Comics #8 (December 1941-January 1942) Created by William Moulton Marston and introduced at the beginning of America’s involvement in World War II, Wonder Woman—the fierce warrior and diplomat armed with bulletproof Bracelets of Victory, a golden tiara, and a Lasso of Truth—has been a pop-culture icon and one of the most enduring symbols of feminism for more than seventy-five years. Wonder Woman: Ambassador of Truth now tells the complete illustrated story of this iconic character’s creative journey. Signe Bergstrom examines Wonder Woman’s diverse media representations from her wartime comic book origins to today’s feature films, and explores the impact she has had on women’s rights and empowerment and the fight for peace, justice, and equality across the globe. Wonder Woman: Ambassador of Truth brings together a breathtaking collage of images—from the DC comic books, the 1970s-era television show starring Lynda Carter, her numerous animated appearances, the June 2017 Wonder Woman feature film called "the best DC universe film yet", and the November 2017 film Justice League. Fully authorized by Warner Bros. Consumer Products, this lush full-color compendium features inserts and exclusive interactives, and illuminating interviews and anecdotes from key artists, writers, and personalities involved in bringing Wonder Woman to life across the years.WONDER WOMAN and all related characters and elements are trademarks of and © DC Comics. (s17)

The Wonder Years: My Life & Times with Stevie Wonder

by Ted Hull Paula L. Stahel

Ted Hull was not a singer or a musician, however he was very involved in Stevie Wonder's life and Motown. Ted was Stevie's teacher, mentor and companion.

Wonderful Feels Like This

by Sara Lövestam

The Elegance of the Hedgehog meets The Perks of Being a Wallflower in Wonderful Feels Like This, a novel that celebrates being a little bit odd, finding your people, and the power of music to connect us.For Steffi, going to school everyday is an exercise in survival. She's never fit in with any of the groups at school, and she's viciously teased by the other girls in her class. The only way she escapes is through her music—especially jazz music.When Steffi hears her favorite jazz song playing through an open window of a retirement home on her walk home from school, she decides to go in and introduce herself.The old man playing her favorite song is Alvar. When Alvar was a teenager in World War II Sweden, he dreamed of being in a real jazz band. Then and now, Alvar's escape is music—especially jazz music. Through their unconventional but powerful friendship, Steffi comes to realize that she won't always be stuck and lonely in her town. She can go to music school in Stockholm. She can be a real musician. She can be a jitterbug, just like Alvar.But how can Steffi convince her parents to let her go to Stockholm to audition? And how it that Steffi's school, the retirement home, the music, and even Steffi's worst bully are somehow all connected to Alvar? Can it be that the people least like us are the ones we need to help us tell our own stories?"Sensitive and deeply moving: outstanding." —Kirkus, starred review"Empathy, identity, and the transformative power of music bind this tale of an atypical friendship between a teenage outcast and a jazz musician."—Publishers Weekly, starred review

A Wonderful Life: The Films and Career of James Stewart

by Tony Thomas

Thomas surveys Jimmy Stewart's life and career, and reviews the circumstances and plot of each of his films, from his small part in 1935's Murder Man, to his last role as a grandfather in a 1981 Lassie movie.

Wonderful Tonight: George Harrison, Eric Clapton, and Me

by Pattie Boyd Penny Junor

For the first time, rock music's most famous muse tells her incredible story Pattie Boyd, former wife of both George Harrison and Eric Clapton, finally breaks a forty-year silence and tells the story of how she found herself bound to two of the most addictive, promiscuous musical geniuses of the twentieth century and became the most legendary muse in the history of rock and roll. The woman who inspired Harrison's song "Something" and Clapton's anthem "Layla," Pattie Boyd has written a book that is rich and raw, funny and heartbreaking--and totally honest.

The Wonders: The Extraordinary Circus Performers Who Transformed The Victorian Age

by John Woolf

A radical new history that rediscovers the remarkable freak performers whose talents and charisma helped define an era. On March 23, 1844, General Tom Thumb, just 25 inches tall, entered the Picture Gallery at Buckingham Palace and bowed low to Queen Victoria. On both sides of the Atlantic, this meeting marked a tipping point in the nineteenth century, and the age of the freak was born. Bewitching all levels of society, it was a world of curiosities and astonishing spectacle—of dwarfs, giants, bearded ladies, Siamese twins, and swaggering showmen. But the real stories—human dramas that so often eclipsed the fantasy presented on the stage—of the performing men, women and children, have been forgotten or marginalized in the histories of the very people who exploited them. In this richly evocative account, John Woolf uses a wealth of recently discovered material to bring to life the sometimes tragic, sometimes triumphant, always extraordinary stories of people who used their (dis)abilities and difference to become some of the first international celebrities. Through their lives we discover afresh some of the great transformations of the age: the birth of show business, of celebrity, of advertising, and of “alternative facts” while also exploring the tensions between the power of fame, the impact of exploitation, and our fascination with “otherness.”

Wong Kar-wai (Contemporary Film Directors)

by Peter Brunette

Wong Kar-Wai traces this immensely exciting director's perennial themes of time, love, and loss, and examines the political implications of his films, especially concerning the handover of former British colony Hong Kong to the People's Republic of China. This book is the first in any language to cover all of Wong's work, from his first film, As Tears Go By, to his most recent, the still unreleased 2046. It also includes his best?known, highly honored films, Chungking Express, Happy Together, and above all, In the Mood for Love. Most importantly, Peter Brunette describes the ways in which Wong's supremely visual films attempt to create a new form of cinema by relying on stunning, suggestive visual images and audio tracks to tell their story, rather than on traditional notions of character, dialogue, and plot. The question of Wong Kar-wai's use of genre film techniques in art films is also explored in depth.

Wong Kar-wai's Ashes of Time

by Wimal Dissanayake

'Ashes of Time,' by the internationally acclaimed director Wong Kar-wai, has been considered to be one of the most complex and self-reflexive of Hong Kong films. Loosely based on the stories by renowned martial arts novelist Jin Yong, Wong Kar-wai has created a very different kind of martial arts film, which invites close and sustained study.This book presents the nature and significance of Ashes of Time, and the reasons for its being regarded as a landmark in Hong Kong cinema. Placing the film in historical and cultural context, Dissanayake discusses its vision, imagery, visual style, and narrative structure. In particular, he focuses on the themes of mourning, confession, fantasy, and kung fu movies, which enable the reader to gain a deeper and more comprehensive understanding of the film.

Wong Kar-wai's Happy Together

by Jeremy Tambling

Wong Kar-wai's controversial film, 'Happy Together,' was released in Hong Kong just before the handover of power in 1997. The film shows two Chinese gay men in Buenos Aires and reflects on Hong Kong's past and future by probing masculinity, aggression, identity, and homosexuality. It also gives a reading of Latin America, perhaps as an allegory of Hong Kong as another post-colonial society. Examining one single, memorable, and beautiful film, but placing it in the context of other films by Wong Kar-wai and other Hong Kong directors, this book illustrates the depth, as well as the spectacle and action, that characterizes Hong Kong cinema. Tambling investigates the possibility of seeing Happy Together in terms of 'national allegory', as Fredric Jameson suggests Third World texts should be seen. Alternatively, he emphasizes the fragmentary nature of the film by discussing both its images and its narrative in the light of Borges and Manuel Puig. He also looks at the film's relation to the American road movie and to the history of the tango. He poses questions how emotions are presented in the film (is this a 'nostalgia film'?); whether the masculinity in it should be seen negatively or as signs of a new hopefulness about Hong Kong's future; and whether the film indicates new ways of thinking of gender relationships or sexuality.

Woodlanders Begin

by Irene Schultz

What family solves mysteries... has adventures all over the world... and loves oatmeal cookies? The children (Sammy, 10, sister Kathy, 13, brother Bill, 14, best friend Dave, 16) all lost their parents, but with their dog Mop have made their OWN family with Mrs. Tandy. Why are they called the Woodlanders? Because they live in a big house in the Bluff Lake woods on Woodland Street! Together they find fun, mystery, and adventure.

Woodstock at 50 (LIFE)

by The Editors of LIFE

The editors of LIFE Magazine present Woodstock at 50.

Woody Allen and Philosophy: You Mean My Whole Fallacy Is Wrong?

by Mark T. Conard Aeon J. Skoble

One need not be a philosophy major to appreciate Woody Allen's take on life's big questions. Conard and Skoble collect 15 views on such themes in his films as philosophical commentary.

Woody, Cisco, and Me: Seamen Three in the Merchant Marine

by Jim Longhi

In his 1997 memoir, Jim Longhi, who passed away on November 22, 2006, gives the reader a first-hand account of Woody Guthrie and Cisco Houston during those crucial years with anecdotes that no other living person could tell; his action-packed account of their ship's dangerous journeys through mine-infested waters, his memories of their ships being torpedoed, his description of their shore leaves throughout North Africa, Italy, Scotland, England and France, his hilarious "on-board" stories of Woody as the ship's dishwasher, menu artist, totem builder, and impromptu entertainer for the troops. Here we have yet another side of Woody, described as only Jimmy could. Jimmy's more personal observations of Woody as a "bunk-mate" and friend are perhaps even more revealing. He describes one incident where Woody saved his life after a torpedo hit their ship. He also tells us of the day after Woody's four year-old daughter Cathy died in a house fire and Woody's response. The memories go on and on... His writing is so eloquent and descriptive one can't help but think... "what a great movie this would make!" Jim Longhi, has been a prizefighter, ladies' stocking salesman, merchant seaman, lawyer and politician as well as a playwright. During World War II he and Woody, shipped out in the Merchant Marine. Guthrie taught him to sing, play the guitar, and "to be brave." They entertained troops under fire and were torpedoed twice off Italy and Normandy. After the war, Longhi became a lawyer, representing Brooklyn's rank-and-file longshoremen against the gangsters. With three longshoremen murdered, Longhi became the spokesman for the movement. People from all walks of life came to help, Arthur Miller and Elia Kazan among others. Longhi urged them to make the movie "On the Waterfront" for which Longhi conceived the original idea. Thereafter, Longhi wrote his own play about the waterfront called "Two Fingers of Pride," and gave Steve McQueen his first job. Longhi's second play, "Climb the Greased Pole," was produced in London's Mermaid Theater, starring Sir Bernard Miles. "The Lincoln Mask," which was performed this year off Broadway. His latest play "The Lantern," a play about Lincoln, was just finished.

Woody Guthrie: A Life

by Joe Klein

Biography of the singer, songmaker and restless spirit who defined the American character for a generation.

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