Description : The image of a tortured genius working in near isolation has long dominated our conceptions of the artist’s studio. Examples abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a “factory,” artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. The Studio Reader pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist’s practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually—at the center of an art world that careens across institutions, markets, and disciplines. A companion for anyone engaged with the spectacular sites of art at its making, The Studio Reader reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.
Description : Consider the vast array of things around you, from the building you are in, the lights illuminating the interior, the computational devices mediating your life, the music in the background, even the crockery, furniture and glassware you are in the presence of. Common to all these objects is that their concrete, visual and technological forms were invariably conceived, modelled, finished and tested in sites characterised as studios. Remarkably, the studio remains a peculiar lacuna in our understanding of how cultural artefacts are brought into being and how ‘creativity’ operates as a located practice. Studio Studies is an agenda setting volume that presents a set of empirical case studies that explore and examine the studio as a key setting for aesthetic and material production. As such, Studio Studies responds to three contemporary concerns in social and cultural thought: first, how to account for the situated nature of creative and cultural production; second, the challenge of reimagining creativity as a socio-materially distributed practice rather than the cognitive privilege of the individual; and finally, to unravel the parallels, contrasts and interconnections between studios and other sites of cultural-aesthetic and technoscientific production, notably laboratories. By enquiring into the operations, topologies and displacements that shape and format studios, this volume aims to demarcate a novel and important object of analysis for empirical social and cultural research as well to develop new conceptual repertoires to unpack the multiple ways studio processes shape our everyday lives.
Description : The Animation Studies Reader brings together both key writings within animation studies and new material in emerging areas of the field. The collection provides readers with seminal texts that ground animation studies within the contexts of theory and aesthetics, form and genre, and issues of representation. The first section collates key readings on animation theory, on how we might conceptualise animation, and on some of the fundamental qualities of animation. New material is also introduced in this section specifically addressing questions raised by the nature, style and materiality of animation. The second section outlines some of the main forms that animation takes, which includes discussions of genre. Although this section cannot be exhaustive, the material chosen is particularly useful as it provides samples of analysis that can illuminate some of the issues the first section of the book raises. The third section focuses on issues of representation and how the medium of animation might have an impact on how bodies, gender, sexuality, race and ethnicity are represented. These representations can only be read through an understanding of the questions that the first two sections of the book raise; we can only decode these representations if we take into account form and genre, and theoretical conceptualisations such as visual pleasure, spectacle, the uncanny, realism etc.
Description : Improve reading fluency while providing fun and purposeful practice for performance. Motivate students with this reader's theater script and build students' knowledge through grade-level content. Included graphic organizer helps visual learners.
Description : Sylvester Stallone has been a defining part of American film for nearly four decades. He has made an impact on world entertainment in a surprisingly diverse range of capacities – as actor, writer, producer, and director – all while maintaining a monolithic presence. With The Ultimate Stallone Reader, this icon finally receives concerted academic attention. Eleven original essays by internationally-known scholars examine Stallone's contributions to mainstream cinema, independent film, and television. This volume also offers innovative approaches to star, gender, and celebrity studies, performance analysis, genre criticism, industry and reception inquiry, and the question of what it means to be an auteur. Ultimately, The Ultimate Stallone Reader investigates the place that Sylvester Stallone occupies within an industry and a culture that have both undergone much evolution, and how his work has reflected and even driven these changes.
Description : Collection of articles and new writings by members of the Glasgow University Media Group, including material from Bad News, More Bad News, Really Bad News, and War and Peace News.
Description : The best writing from a lifetime in the trenches and at the typewriter, from the renowned and much-beloved National Book Award–winning educator. In more than forty books on subjects ranging from social justice to mathematics, morality to parenthood, Herb Kohl has earned a place as one of our foremost “educators who write.” With Marian Wright Edelman, Mike Rose, Lisa Delpit, and Vivian Paley among his fans, Kohl is “a singular figure in education,” as William Ayers says in his foreword, “it’s clear that Herb Kohl’s influence has resonated, echoed, and multiplied.” Now, for the first time, readers can find collected in one place key essays and excerpts spanning the whole of Kohl’s career, including practical as well as theoretical writings. Selections come from Kohl’s classic 36 Children, his National Book Award–winning The View from the Oak (co-authored with his wife Judy), and all his best-known and beloved books. The Herb Kohl Reader is destined to become a major new resource for old fans and a new generation of teachers and parents. “Kohl has created his own brand of teaching . . . [He is] a remarkable teacher who discovered in his first teaching assignment that in education he could keep playing with toys, didn’t have to stop learning, and could use what he knew in the service of others.” —Lisa Delpit, The New York Times “An infinitely vulnerable and honest human being who has made it his vocation to peddle hope.” —Jonathan Kozol
Description : Ranging from the playful, to the fact-filled, and to the thoughtful, this collection tracks the fortunes of Walt Disney’s flagship character. From the first full-fledged review of his screen debut in November 1928 to the present day, Mickey Mouse has won millions of fans and charmed even the harshest of critics. Almost half of the eighty-one texts in A Mickey Mouse Reader document the Mouse’s rise to glory from that first cartoon, Steamboat Willie, through his seventh year when his first color animation, The Band Concert, was released. They include two important early critiques, one by the American culture critic Gilbert Seldes and one by the famed English novelist E. M. Forster. Articles and essays chronicle the continued rise of Mickey Mouse to the rank of true icon. He remains arguably the most vivid graphic expression to date of key traits of the American character—pluck, cheerfulness, innocence, energy, and fidelity to family and friends. Among press reports in the book is one from June 1944 that puts to rest the urban legend that “Mickey Mouse” was a password or code word on D-Day. It was, however, the password for a major pre-invasion briefing. Other items illuminate the origins of “Mickey Mouse” as a term for things deemed petty or unsophisticated. One piece explains how Walt and brother Roy Disney, almost single-handedly, invented the strategy of corporate synergy by tagging sales of Mickey Mouse toys and goods to the release of Mickey’s latest cartoons shorts. In two especially interesting essays, Maurice Sendak and John Updike look back over the years and give their personal reflections on the character they loved as boys growing up in the 1930s.