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Mexico's churches and conventos display a unique blend of European and native styles. Missionary Mendicant friars arrived in New Spain shortly after Cortes's conquest of the Aztec empire in 1521 and immediately related their own European architectural and visual arts styles to the tastes and expectations of native Indians. Right from the beginning the friars conceived of conventos as a special architectural theater in which to carry out their proselytizing. Over four hundred conventos were established in Mexico between 1526 and 1600, and more still in New Mexico in the century following, all built and decorated by native Indian artisans who became masters of European techniques and styles even as they added their own influence. The author argues that these magnificent sixteenth and seventeenth-century structures are as much part of the artistic patrimony of American Indians as their pre-Conquest temples, pyramids, and kivas. Mexican Indians, in fact, adapted European motifs to their own pictorial traditions and thus made a unique contribution to the worldwide spread of the Italian Renaissance. The author brings a wealth of knowledge of medieval and Renaissance European history, philosophy, theology, art, and architecture to bear on colonial Mexico at the same time as he focuses on indigenous contributions to the colonial enterprise. This ground-breaking study enriches our understanding of the colonial process and the reciprocal relationship between European friars and native artisans.
In designing a theater, an architect must design a hub for the activities of actors, dancers, and musicians of every genre, and appease directors, producers, and the all-important public. This successful title has proved its practicality as a guide to building the modern theater, concert hall and cultural center designed for academic, civic and private use. Now in its first reprint edition, it has also been published in Chinese, and has proved a valuable resource for both architects and commissioning agents. The expertise of Hardy Holzman and Pfeiffer Associates (HHPA) is demonstrated time and again throughout this book, with color photography, and essays by performers, curators, artistic directors, actors, lighting designers, academic musicians, playwrights, and dancers amongst others. This book showcases their work through new buildings, old theater renovations and older building refitted as theaters.
These eleven essays, all centrally concerned with the intimate relationship between sound, religion, and society in the early modern world, present a sequence of test cases located in a wide variety of urban environments in Europe and the Americas. Written by an international cast of acclaimed historians and musicologists, they explore in depth the interrelated notions of conversion and confessionalisation in the shared belief that the early modern city was neither socially static nor religiously uniform. With its examples drawn from the Holy Roman Empire and the Southern Netherlands, the pluri-religious Mediterranean, and the colonial Americas both North and South, this book takes discussion of the urban soundscape, so often discussed in purely traditional terms of European institutional histories, to a new level of engagement with the concept of a totally immersive acoustic environment as conceptualised by R. Murray Schafer. From the Protestants of Douai, a bastion of the Catholic Reformation, to the bi-confessional city of Augsburg and seventeenth-century Farmington in Connecticut, where the indigenous Indian population fashioned a separate Christian entity, the intertwined religious, musical, and emotional lives of specifically grounded communities of early modern men and women are here vividly brought to life.
Early modern Britain witnessed a transformation in legal reasoning about human volition and intentional action. Examining the relation between law and theater in this period, this book reads plays by Shakespeare, Jonson, Marlowe, and others to demonstrate how legal understanding of willful human action pervades 16th- and 17th-century English drama.
The latest title in the Norton/Library of Congress Visual Sourcebooks series, Theaters offers a richly illustrated history of a revered cultural artifact and a technological challenge, following its progression from the eighteenth-century opera house to the modern movie multiplex.
With the rise of drones and computer-controlled weapons, the line between war and video games continues to blur. In this book, the authors trace how the realities of war are deeply inflected by their representation in popular entertainment. War games and other media, in turn, feature an increasing number of weapons, tactics, and threat scenarios from the War on Terror. While past analyses have emphasized top-down circulation of pro-military ideologies through government public relations efforts and a cooperative media industry, The Military-Entertainment Complex argues for a nonlinear relationship, defined largely by market and institutional pressures. Tim Lenoir and Luke Caldwell explore the history of the early days of the video game industry, when personnel and expertise flowed from military contractors to game companies; to a middle period when the military drew on the booming game industry to train troops; to a present in which media corporations and the military influence one another cyclically to predict the future of warfare. In addition to obvious military-entertainment titles like AmericaÕs Army, Lenoir and Caldwell investigate the rise of best-selling franchise games such as Call of Duty, Battlefield, Medal of Honor, and Ghost Recon. The narratives and aesthetics of these video games permeate other media, including films and television programs. This commodification and marketing of the future of combat has shaped the publicÕs imagination of war in the post-9/11 era and naturalized the U.S. PentagonÕs vision of a new way of war.
Following on the heels of their incredibly successful The Ruins of Detroit, this major new project by the prolific French photographer duo Marchand/Meffre, poignantly eulogizes and celebrates the tattered remains of hundreds of movie theaters across America. They are in every American city and town—grandiose movie palaces, constructed during the heyday of the entertainment industry, that now stand abandoned, empty, decaying, or repurposed. Since 2005, the acclaimed photographic duo Marchand/Meffre have been traveling across the US to visit these early 20th-century relics. In hundreds of lushly colored images, they have captured the rich architectural diversity of the theaters’ exteriors, from neo renaissance to neo-Gothic, art nouveau to Bauhaus, and neo-Byzantine to Jugendstill. They have also stepped inside to capture the commonalities of a dying culture— crumbling plaster, rows of broken crushed-velvet seats, peeling paint, defunct equipment, and abandoned concession stands—as well as their transformation into bingo halls, warehouses, fitness centers, flea markets, parking lots, and grocery stores. Using a large format camera, the photographers’ carefully composed images range from landscape exteriors to starkly beautiful closeups. Presented here in a gorgeous oversized format, exquisitely printed with superior inks and spot varnish, this illustrated eulogy for the American movie palace is certain to become a modern-day classic.
Most of the time, there is nothing remarkable about a movie theater today; but that wasn't always the case. When the great American movie palaces began opening in the early 20th century, they were some of the most lavish, stunning buildings ever seen. However, they wouldn't last -- with the advent of in-home television, theater companies found it harder and harder to keep them open. Some were demolished, some were converted, and some remain empty to this day. After the Final Curtain: The Fall of the American Movie Theatre will take you through 24 of these magnificent buildings, revealing the beauty that remains years after the last ticket was sold.
Foundational Arts examines how the relationships between mural painting and missionary theater became a transcultural process for mass conversion of Native populations to Christianity. Michael K. Schuessler studies the New World expressions of dramatic and plastic arts and how they became the tools of European friars to Christianize Native peoples and ultimately create a new and unique literary and artistic tradition.
This volume brings together archeologists, art historians, philologists, literary scholars, political scientists, and historians to articulate the ways in which western Greek theater was distinct from that of the Greek mainland and, at the same time, to investigate how the two traditions interacted. The chapters intersect and build on each other in their pursuit of a number of shared questions and themes: the place of theater in the cultural life of Sicilian and South Italian 'colonial cities;' theater as a method of cultural self-identification; shared mythological themes in performance texts and theatrical vase-painting; and the reflection and analysis of Sicilian and South Italian theater in the work of Athenian philosophers and playwrights. Together, the essays explore central problems in the study of western Greek theater. By gathering a number of different perspectives and methods, this volume offers the first wide-ranging examination of this hitherto neglected history.