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Musical Theatre: A History is a new revised edition of a proven core text for college and secondary school students – and an insightful and accessible celebration of twenty-five centuries of great theatrical entertainment. As an educator with extensive experience in professional theatre production, author John Kenrick approaches the subject with a unique appreciation of musicals as both an art form and a business. Using anecdotes, biographical profiles, clear definitions, sample scenes and select illustrations, Kenrick focuses on landmark musicals, and on the extraordinary talents and business innovators who have helped musical theatre evolve from its roots in the dramas of ancient Athens all the way to the latest hits on Broadway and London's West End. Key improvements to the second edition: · A new foreword by Oscar Hammerstein III, a critically acclaimed historian and member of a family with deep ties to the musical theatre, is included · The 28 chapters are reformatted for the typical 14 week, 28 session academic course, as well as for a two semester, once-weekly format, making it easy for educators to plan a syllabus and reading assignments. · To make the book more interactive, each chapter includes suggested listening and reading lists, designed to help readers step beyond the printed page to experience great musicals and performers for themselves. A comprehensive guide to musical theatre as an international phenomenon, Musical Theatre: A History is an ideal textbook for university and secondary school students.
Explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ranging from Camus to the Frankfurt School. The authors, each focusing on a different aspect of the genre, explores the philosophical underpinnings of classic films.
(Applause Books). This revised and expanded edition of Kislan's acclaimed study of America's musical theater includes a new section on "Recent Musical Theater: Issues and Problems." "The ancient union of drama and song, known as musical theater, comes in many forms vaudeville, burlesque, comic opera, minstrels, etc. The author reviews these and other highlights of American musicals ... with a fascinating background on the elements that contribute to the success of a Showboat ." King Features * "Worth study by anyone who still thinks that the musical is a collection of songs." The Stage
Operads are mathematical devices which describe algebraic structures of many varieties and in various categories. From their beginnings in the 1960s, they have developed to encompass such areas as combinatorics, knot theory, moduli spaces, string field theory and deformation quantization.
Film noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an interplay between darkness and light. Common motifs include crime and punishment, the upheaval of traditional moral values, and a pessimistic stance on the meaning of life and on the place of humankind in the universe. Spanning the 1940s and 1950s, the classic film noir era saw the release of many of Hollywood's best-loved studies of shady characters and shadowy underworlds, including Double Indemnity, The Big Sleep, Touch of Evil, and The Maltese Falcon. Neo-noir is a somewhat loosely defined genre of films produced after the classic noir era that display the visual or thematic hallmarks of the noir sensibility. The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers. Through the lens of philosophy, Mark T. Conard and the contributors examine previously obscure layers of meaning in these challenging films. The contributors also consider these neo-noir films as a means of addressing philosophical questions about guilt, redemption, the essence of human nature, and problems of knowledge, memory and identity. In the neo-noir universe, the lines between right and wrong and good and evil are blurred, and the detective and the criminal frequently mirror each other's most debilitating personality traits. The neo-noir detective—more antihero than hero—is frequently a morally compromised and spiritually shaken individual whose pursuit of a criminal masks the search for lost or unattainable aspects of the self. Conard argues that the films discussed in The Philosophy of Neo-Noir convey ambiguity, disillusionment, and disorientation more effectively than even the most iconic films of the classic noir era. Able to self-consciously draw upon noir conventions and simultaneously subvert them, neo-noir directors push beyond the earlier genre's limitations and open new paths of cinematic and philosophical exploration.
Hodge theory originated as an application of harmonic theory to the study of the geometry of compact complex manifolds. The ideas have proved to be quite powerful, leading to fundamentally important results throughout algebraic geometry. This book consists of expositions of various aspects of modern Hodge theory. Its purpose is to provide the nonexpert reader with a precise idea of the current status of the subject. The three chapters develop distinct but closely related subjects:$L2$ Hodge theory and vanishing theorems; Frobenius and Hodge degeneration; variations of Hodge structures and mirror symmetry. The techniques employed cover a wide range of methods borrowed from the heart of mathematics: elliptic PDE theory, complex differential geometry, algebraic geometry incharacteristic $p$, cohomological and sheaf-theoretic methods, deformation theory of complex varieties, Calabi-Yau manifolds, singularity theory, etc. A special effort has been made to approach the various themes from their most na The reader should have some familiarity with differential and algebraic geometry, with other prerequisites varying by chapter. The book is suitable as an accompaniment to a second course in algebraic geometry.
(Limelight). Departing from the approach of its Film Noir Reader predecessors, this third volume in the series assembles a collection of interviews with film noir directors and a cinematographer, few of whom are alive today. Interviewees include Billy Wilder ( Double Indemnity and Sunset Boulevard ), Otto Preminger ( Laura ), Joseph Lewis ( Gun Crazy and The Big Combo ), Curtis Bernhardt ( Possessed and A Stolen Life ), Edward Dmytryk ( Murder, My Sweet and Crossfire ), and Fritz Lang ( Scarlet Street and The Woman in the Window ).
This text identifies a handful of plot elements that consistently recur within film noir and analyses in depth the memorable pictures that, while being vivid prototypes of certain cinematics themes, bend and break their moulds to find new ways to enthral and frighten us.