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The first book-length empirical investigation of writing center directors’ labor, The Working Lives of New Writing Center Directors presents a longitudinal qualitative study of the individual professional lives of nine new directors. Inspired by Kinkead and Harris’s Writing Centers in Context (1993), the authors adopt a case study approach to examine the labor these directors performed and the varied motivations for their labor, as well as the labor they ignored, deferred, or sidelined temporarily, whether or not they wanted to. The study shows directors engaged in various types of labor—everyday, disciplinary, and emotional—and reveals that labor is never restricted to a list of job responsibilities, although those play a role. Instead, labor is motivated and shaped by complex and unique combinations of requirements, expectations, values, perceived strengths, interests and desires, identities, and knowledge. The cases collectively distill how different institutions define writing and appropriate resources to writing instruction and support, informing the ongoing wider cultural debates about skills (writing and otherwise), the preparation of educators, the renewal/tenuring of educators, and administrative “bloat” in academe. The nine new directors discuss more than just their labor; they address their motivations, their sense of self, and their own thoughts about the work they do, facets of writing center director labor that other types of research or scholarship have up to now left invisible. The Working Lives of New Writing Center Directors strikes a new path in scholarship on writing center administration and is essential reading for present and future writing center administrators and those who mentor them.
In Hollywood, it's not just what you know, it's "who you know that counts! With "Writer's Guide to Hollywood Producers, Directors, and Screenwriter's Agents you have the friend you need to succeed in this very competitive industry. In this insider's guide, Hollywood screenwriter Skip Press tells you who's who, what they're looking for, and, most important, how to reach them--by mail, phone, fax, even e-mail. Also included: - Essential information on submission protocols and preferences for hundreds of agencies and production companies - Extensive interviews with key people - How Hollywood works: An A-Z tour - Books, CD-ROMs, and other back doors to Hollywood - And much, much more! "Skip Press has written a book that combines fearless opinions and invaluable hard facts, both of which are hard to find in Hollywood. This book is thoughtfully written, clearly laid out, and of great value to beginners and old-timers alike." --Gareth Wigan, co-vice chairman, Columbia TriStar Motion Picture Group "An invaluable resource for breaking into the movie and television business." --Barbara Anne Hiser, Emmy-winning cable and network television producer "[This book is] not only entertaining but a valuable tool for anyone interested in show business." --Paul Mason, Sr., vice president of Production, Viacom "The bonus for any reader of this book is that Skip Press is just a good writer--accessible, clear, persuasive, motivating, and easy-to-understand." --Jerry B. Jenkins, author of the "Left Behind series and "'Twas the Night Before "An insightful guide to the intricate Hollywood network." --Oliver Eberle, founder and CEO, ShowBIZ Data.com Aboutthe Author Skip Press, a novelist, screenwriter, and producer, is the author of "How to Write What You Want and Sell What You Write and dozens of other titles, as well as hundreds of entertainment articles and short stories. He lives in the Los Angeles area.
(Limelight). Originally conceived as a workbook for young directors, The Little Blue Book for Filmmakers has become a handbook for easy reference, with all the information a student director/actor/producer needs to create a film, from inception through production, to sales, distribution, and exhibition. The book discusses issues faced by all beginning filmmakers, with a historical perspective that explains problems and solutions that reach back to the invention of movies at the turn of the last century, and stretch forward to include new digital technology and the popularization of videography as global self-expression. A valuable addition to the shelves of all film school instructors who've not had years of practical experience working in the trade, it's also a syllabus in itself and can be the foundation for a course schedule. More important, it's something every film student will want to own as a reference and guide.
Why Shakespeare? What explains our continued fascination with his poems and plays? In Living with Shakespeare, Susannah Carson invites forty actors, directors, scholars, and writers to reflect on why his work is still such a vital part of our culture. We hear from James Earl Jones on reclaiming Othello as a tragic hero, Julie Taymor on turning Prospero into Prospera, Camille Paglia on teaching the plays to actors, F. Murray Abraham on gaining an audience’s sympathy for Shylock, Sir Ben Kingsley on communicating Shakespeare’s ideas through performance, Germaine Greer on the playwright’s home life, Dame Harriet Walter on the complexity of his heroines, Brian Cox on social conflict in his time and ours, Jane Smiley on transposing King Lear to Iowa in A Thousand Acres, and Sir Antony Sher on feeling at home in Shakespeare’s language. Together these essays provide a fresh appreciation of Shakespeare’s works as a living legacy to be read, seen, performed, adapted, revised, wrestled with, and embraced by creative professionals and lay enthusiasts alike. F. Murray Abraham ● Isabel Allende ● Cicely Berry ● Eve Best ● Eleanor Brown ● Stanley Cavell ● Karin Coonrod ● Brian Cox ● Peter David ● Margaret Drabble ● Dominic Dromgoole ● David Farr ● Fiasco Theater ● Ralph Fiennes ● Angus Fletcher ● James Franco ● Alan Gordon ● Germaine Greer ● Barry John ● James Earl Jones ● Sir Ben Kingsley ● Maxine Hong Kingston ● Rory Kinnear ● J. D. McClatchy ● Conor McCreery ● Tobias Menzies ● Joyce Carol Oates ● Camille Paglia ● James Prosek ● Richard Scholar ● Sir Antony Sher ● Jane Smiley ● Matt Sturges ● Julie Taymor ● Eamonn Walker ● Dame Harriet Walter ● Bill Willingham ● Jess Winfield
Credited with sparking the current memoir explosion, Mary Karr’s The Liars’ Club spent more than a year at the top of the New York Times list. She followed with two other smash bestsellers: Cherry and Lit, which were critical hits as well. For thirty years Karr has also taught the form, winning teaching prizes at Syracuse. (The writing program there produced such acclaimed authors as Cheryl Strayed, Keith Gessen, and Koren Zailckas.) In The Art of Memoir, she synthesizes her expertise as professor and therapy patient, writer and spiritual seeker, recovered alcoholic and “black belt sinner,” providing a unique window into the mechanics and art of the form that is as irreverent, insightful, and entertaining as her own work in the genre. Anchored by excerpts from her favorite memoirs and anecdotes from fellow writers’ experience, The Art of Memoir lays bare Karr’s own process. (Plus all those inside stories about how she dealt with family and friends get told— and the dark spaces in her own skull probed in depth.) As she breaks down the key elements of great literary memoir, she breaks open our concepts of memory and identity, and illuminates the cathartic power of reflecting on the past; anybody with an inner life or complicated history, whether writer or reader, will relate. Joining such classics as Stephen King’s On Writing and Anne Lamott’s Bird by Bird, The Art of Memoir is an elegant and accessible exploration of one of today’s most popular literary forms—a tour de force from an accomplished master pulling back the curtain on her craft.
Addressing representation and identity in a variety of production styles and genres, including experimental film and documentary, independent and mainstream film, and television drama, Filming Difference poses fundamental questions about the ways in which the art and craft of filmmaking force creative people to confront stereotypes and examine their own identities while representing the complexities of their subjects. Selections range from C. A. Griffith’s “Del Otro Lado: Border Crossings, Disappearing Souls, and Other Transgressions” and Celine Perreñas Shimizu’s “Pain and Pleasure in the Flesh of Machiko Saito’s Experimental Movies” to Christopher Bradley’s “I Saw You Naked: ‘Hard’ Acting in ‘Gay’ Movies,” along with Kevin Sandler’s interview with Paris Barclay, Yuri Makino’s interview with Chris Eyre, and many other perspectives on the implications of film production, writing, producing, and acting. Technical aspects of the craft are considered as well, including how contributors to filmmaking plan and design films and episodic television that feature difference, and how the tools of cinema—such as cinematography and lighting—influence portrayals of gender, race, and sexuality. The struggle between economic pressures and the desire to produce thought-provoking, socially conscious stories forms another core issue raised in Filming Difference. Speaking with critical rigor and creative experience, the contributors to this collection communicate the power of their media.
The film director is the guide, the inspiration, the focus that can shepherd hundreds of artists into the creation of a single work of art. The author takes the reader step by step into the process of film-making.
Most actors and directors have struggled with the problem of needing to imitate foreign dialects. Marguerite and Lewis Herman have created an essential tool for actors, directors and writers aiming toward the most authentic performances possible. Foreign Dialects contains an extensive repertoire of dialects that will assist the actor in the preparation for the most difficult foreign roles. Now in paperback, this classic text offers the director or producer a quick, convenient aid for correcting actors and evaluating applicants for authenticity and dialect ability. In addition, it guides those writing fiction as well as radio, movie, and television scripts. Thirty foreign dialects are provided, with character studies, speech peculiarities, and examples of the dialects in easy-to-read phonetic monologues--including Cockney, British, Irish, Scottish, French, German, Spanish, Swedish, Polish, Greek and Yiddish.
The people who directed, produced, and starred in the scary and fantastic movies of the genre heyday over thirty years ago created memorable experiences as well as memorable movies. This McFarland Classic brings together over fifty interviews with the directors, producers, actors, and make-up artists of science fiction and horror films of the 1940s, 1950s, and 1960s. From B movies to classics, Samuel Z. Arkoff to Acquanetta, these veteran vampire baits, swamp monsters, and flying saucers attackees share their memories. This classic volume represents the union of two previous volumes: Interviews with B Science Fiction and Horror Movie Makers ("more fun than the lovably cheap movies that inspired it"--Booklist/RBB); and Science Fiction Stars and Horror Heroes ("candid...a must" --ARBA). Together at last, this combined collection of interviews offers a candid and delightful perspective on the movies that still make audiences squeal with fear, and occasionally, howl with laughter.
New York Times Bestseller: “Both revelatory and entertaining . . . Along the way, Viertel provides some fascinating Broadway history.” —The New York Times Book Review Americans invented musicals—and have a longstanding love affair with them. But what, exactly, is a musical? In this book, longtime theatrical producer and writer Jack Viertel takes them apart, puts them back together, sings their praises, and occasionally despairs over their more embarrassing shortcomings. In the process, he shows us how musicals happen, what makes them work, how they captivate audiences, and how one landmark show leads to the next—by design or by accident, by emulation or by rebellion—from Oklahoma! to Hamilton and onward. Beginning with an overture and concluding with a curtain call, with stops in between for “I Want” songs, “conditional” love songs, production numbers, star turns, and finales, Viertel shows us patterns in the architecture of classic shows and charts the inevitable evolution that has taken place in musical theater as America itself has evolved socially and politically. The Secret Life of the American Musical makes you feel like you’re there in the rehearsal room, the front row, and the offices of theater owners and producers as they pursue their own love affair with that rare and elusive beast—the Broadway hit. “A valuable addition to the theater lover’s bookshelf. . . . fans will appreciate the dips into memoir and Viertel’s takes on original cast albums.” —Publishers Weekly “Even seasoned hands will come away with a clearer understanding of why some shows work while others flop.” —Commentary “A showstopper . . . infectiously entertaining.” —John Lahr, author of Notes on a Cowardly Lion “Thoroughly interesting.” —The A.V. Club “The best general-audience analysis of musical theater I have read in many years.” —The Charlotte Observer “Delightful . . . a little bit history, a little bit memoir, a little bit criticism and, for any theater fan, a whole lot of fun.” —The Dallas Morning News