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Paul McPharlin is one of the 20th century's most important contributors to the art of puppetry. Over a period of nine years he created some 20 productions with marionettes, rod puppets, hand puppets and shadow figures. He was also a prolific writer whose technical, theoretical and historical works contributed significantly to a puppetry revival. His book The Puppet Theatre in America is considered the definitive history of American puppetry. Though shy and aloof, McPharlin was also energetic. He had an ability to bring people together and used this knack to found a national puppetry organization, Puppeteers of America. Besides the author's extensive research on McPharlin and puppetry, the book draws on significant contributions from McPharlin's wife, puppeteer and author Marjorie Batchelder McPharlin, who allowed the use of her 18-year correspondence with Paul in the creation of the book. Chapters take the reader through McPharlin's childhood as a loner in Detroit, his maturation and education in New York, and his early, erratic and often unsuccessful attempts at making a living. His puppeteering years, 1929 to 1937, are detailed, as are the later years that saw him first working for the WPA and then being drafted into the army to serve in World War II at age 38. He continued making important contributions to the art of puppetry until a brain tumor took his life at age 45 in 1948. Appendices present two of McPharlin's plays, The Barn at Bethlehem: A Christmas Play and Punch's Circus. Another appendix details puppetry imprints, including yearbooks, plays, handbooks, worksheets and books. A fourth lists Paul McPharlin's Puppeteers, members of the Marionette Fellowship of Detroit.
This collection of essays is borne out of the 17th Annual Interdisciplinary German Studies Conference at the University of California, Berkeley. The essays gathered here cover a broad range of topics moving from intersections between the occult and the political, to the entanglement of conceptions of the magical, modernity, media, and aesthetics. The first two essays primarily rely on historical analysis and present a wealth of original research. One chronicles the construction of the witch in Early Modern print media, while the other unfolds the complex relationship of an infighting Third Reich with a multifaceted occult deemed at once fascinating and menacing. The third essay in the collection combines critical, literary, and feminist theories in order to address the magical as an aspect of the fairy tale – a theme in the works of Jelinek and Adorno – and as a challenge to Enlightenment reason. The next two essays, influenced heavily by narratology and semiotics, present close readings of 19th century novellas that question the nexus of mediality and perception, magic and narrative structure. The first of these two essays deals with the liminality of the marionette as it is caught between its mechanical and marvelous qualities in E. T. A. Hoffman’s Rat Krespel (Councilor Krespel), while the latter addresses the collapse of reality mirrored by the magical collapse of metaphor in Theodor Storm’s Pole Poppenspäler (Paul the Puppeteer). The last essay rounds out the compilation with a focus on new media. With close analyses of the films in Lang’s Mabuse trilogy, this essay charts their relation to the enchantment and disenchantment of the medium of film.
The story of Mika, a Jewish boy, who becomes a puppeteer in the Warsaw ghetto - a stunning debut for fans of The Tattooist of Auschwitz, The Boy with the Striped Pyjamas and Schindler's List I was twelve when the coat was made. Nathan, our tailor and dear friend, cut it for Grandfather in the first week of March 1938. It was the last week of freedom for Warsaw and for us... Even in the most difficult of lives, there is hope. And sometimes that hope comes in the form of a small boy, armed with a troupe of puppets - a prince, a girl, a fool, a crocodile with half-painted teeth.... When Mika's grandfather dies in the Warsaw ghetto, he inherits not only his great coat, but its treasure trove of secrets. In one remote pocket, he finds a papier mache head, a scrap of cloth...the prince. And what better way to cheer the cousin who has lost her father, the little boy who his ill, the neighbours living in one cramped room, than a puppet show? Soon the whole ghetto is talking about the puppet boy - until the day when Mika is stopped by a German officer and is forced into a secret life... This is a story about survival. It is an epic journey, spanning continents and generations, from Warsaw to the gulags of Siberia, and two lives that intertwine amid the chaos of war. Because even in wartime, there is hope...
Text and photographs follow Paul Vincent Davis, a professional hand puppeteer, as he mounts a production of Aladdin and His Wonderful Lamp.
That Was Entertainment: The Golden Age of the MGM Musical traces the development of the MGM musical from The Broadway Melody (1929) through its heyday in the 1940s and 1950s and its decline in the 1960s, culminating in the notorious 1970 MGM auction when Judy Garland's ruby slippers from The Wizard of Oz, Charlton Heston's chariot from Ben-Hur, and Fred Astaire's trousers and dress shirt from Royal Wedding vanished to the highest bidders. That Was Entertainment uniquely reconstructs the life of Arthur Freed, whose unit at MGM became the gold standard against which the musicals of other studios were measured. Without Freed, Judy Garland, Gene Kelly, Fred Astaire, Ann Miller, Betty Garrett, Cyd Charisse, Arlene Dahl, Vera-Ellen, Lucille Bremer, Gloria DeHaven, Howard Keel, and June Allyson would never have had the signature films that established them as movie legends. MGM's past is its present. No other studio produced such a range of musicals that are still shown today on television and all of which are covered in this volume, from integrated musicals in which song and dance were seamlessly embedded in the plot (Meet Me in St. Louis and Seven Brides for Seven Brothers) to revues (The Hollywood Revue of 1929 and Ziegfeld Follies); original musicals (Singin' in the Rain, Easter Parade, and It's Always Fair Weather); adaptations of Broadway shows (Girl Crazy, On the Town, Show Boat, Kiss Me Kate, Brigadoon, Kismet, and Bells Are Ringing); musical versions of novels and plays (Gigi, The Pirate, and Summer Holiday); operettas (the films of Jeanette MacDonald and Nelson Eddy); mythico-historical biographies of composers (Johann Strauss Jr. in The Great Waltz and Sigmund Romberg in Deep in My Heart); and musicals featuring songwriting teams (Rodgers and Hart in Words and Music and Kalmar and Ruby in Three Little Words), opera stars (Enrico Caruso in The Great Caruso and Marjorie Lawrence in Interrupted Melody), and pop singers (Ruth Etting in Love Me or Leave Me). Also covered is the water ballet musical--in a class by itself--with Esther Williams starring as MGM's resident mermaid. This is a book for longtime lovers of the movie musical and those discovering the genre for the first time.
The information herein was accumulated of fifty some odd years. The collection process started when TV first came out and continued until today. The books are in alphabetical order and cover shows from the 1940s to 2010. The author has added a brief explanation of each show and then listed all the characters, who played the roles and for the most part, the year or years the actor or actress played that role. Also included are most of the people who created the shows, the producers, directors, and the writers of the shows. These books are a great source of trivia information and for most of the older folk will bring back some very fond memories. I know a lot of times we think back and say, "Who was the guy that played such and such a role?" Enjoy!
For decades, social perspectives, and even academic studies of language, have considered clichés as a hackneyed, tired, lazy, unthinking and uninspiring form of communication. Authored by two established scholars in the fields of Systemic-Functional Linguistics and Discourse Studies and Pragmatics, this cutting-edge book comprehensively explores the perception and use of clichés in language from these complementary perspectives. It draws data from a variety of both written and spoken sources, to re-interrogate and re-imagine the nature, role and usage of clichés, identifying the innovative and creative ways in which the concepts are utilised in communication, interaction, and in self-presentation. Observing a rich, complex layering of usage, the authors deconstruct the many and varied ways in which clichés operate and are interdependently constructed; from the role they play in discourse in general, to their functions as argumentative strategies, as constructs of social cognition, as politeness strategies, and finally as markers of identity.
The Word Biblical Commentary delivers the best in biblical scholarship, from the leading scholars of our day who share a commitment to Scripture as divine revelation. This series emphasizes a thorough analysis of textual, linguistic, structural, and theological evidence. The result is judicious and balanced insight into the meanings of the text in the framework of biblical theology. These widely acclaimed commentaries serve as exceptional resources for the professional theologian and instructor, the seminary or university student, the working minister, and everyone concerned with building theological understanding from a solid base of biblical scholarship. Overview of Commentary Organization Introduction—covers issues pertaining to the whole book, including context, date, authorship, composition, interpretive issues, purpose, and theology. Each section of the commentary includes: Pericope Bibliography—a helpful resource containing the most important works that pertain to each particular pericope. Translation—the author’s own translation of the biblical text, reflecting the end result of exegesis and attending to Hebrew and Greek idiomatic usage of words, phrases, and tenses, yet in reasonably good English. Notes—the author’s notes to the translation that address any textual variants, grammatical forms, syntactical constructions, basic meanings of words, and problems of translation. Form/Structure/Setting—a discussion of redaction, genre, sources, and tradition as they concern the origin of the pericope, its canonical form, and its relation to the biblical and extra-biblical contexts in order to illuminate the structure and character of the pericope. Rhetorical or compositional features important to understanding the passage are also introduced here. Comment—verse-by-verse interpretation of the text and dialogue with other interpreters, engaging with current opinion and scholarly research. Explanation—brings together all the results of the discussion in previous sections to expose the meaning and intention of the text at several levels: (1) within the context of the book itself; (2) its meaning in the OT or NT; (3) its place in the entire canon; (4) theological relevance to broader OT or NT issues. General Bibliography—occurring at the end of each volume, this extensive bibliography contains all sources used anywhere in the commentary.