The new edition of this influential work updates and expands the scope of the original, including more sustained analyses of individual films, from The Birth of a Nation to The Wolf of Wall Street. An interdisciplinary exploration of the relationship between American politics and popular films of all kinds—including comedy, science fiction, melodrama, and action-adventure—Projecting Politics offers original approaches to determining the political contours of films, and to connecting cinematic language to political messaging. A new chapter covering 2000 to 2013 updates the decade-by-decade look at the Washington-Hollywood nexus, with special areas of focus including the post-9/11 increase in political films, the rise of political war films, and films about the 2008 economic recession. The new edition also considers recent developments such as the Citizens United Supreme Court decision, the controversy sparked by the film Zero Dark Thirty, newer generation actor-activists, and the effects of shifting industrial financing structures on political content. A new chapter addresses the resurgence of the disaster-apocalyptic film genre with particular attention paid to its themes of political nostalgia and the turn to global settings and audiences. Updated and expanded chapters on nonfiction film and advocacy documentaries, the politics of race and African-American film, and women and gender in political films round out this expansive, timely new work. A companion website offers two additional appendices and further materials for those using the book in class.
The early-fourteenth-century St Gall Passion Play comes from the Central Rhineland. Unfortunately its music (over one hundred Latin and German chants) is given in the manuscript only as brief incipits, without any musical notation. This interdisciplinary study reconstructs the musical stratum of the play. It is the first full-scale musical reconstruction of a large German Passion play in recent times, using the latest available scholarly data in drama, liturgy and music. It draws conclusions about performance practice and forces, and offers a sound basis for an authentic performance of the play. The study applies musical and liturgical data to the problem of localizing the play (the first time this has been systematically attempted), and assesses how applicable this might be to other plays. It presents a detailed study of the distinctive medieval liturgical uses of three German dioceses, Mainz, Speyer and Worms. The comparative approach suggests how the music of other plays might be reconstructed and understood, and shows that a better understanding of the music of medieval drama has much to teach us about other aspects of the genre. The book should be of interest to literary scholars, theatre historians, musicologists, liturgical scholars, and those involved in the performance of early drama.
According to the generally accepted view that nationalism is alien to communism and that internationalism disallows divisions based on nations, the existence of national communism is often interpreted as a sign of the breakup of the world communist movement. This book reexamines the evidence on the role of nations and national variations, beginning with Marx and moving through Leninism and Stalinism to Titoism, Maoism, Castroism, and current national liberation movements (e.g., in Nicaragua). Professor Zwick concludes that nationalism has always been an inherent element of communism. He demonstrates with numerous concrete cases that, rather than signaling the decline of communism, national adaptation is the source of its strength. The limits of national variation as defined by the Brezhnev Doctrine are precisely defined and examined in the cases of Hungary, Czechoslovakia, and Poland. The book bridges the gap between Marxist theory and communist practice with respect to the central role that nationalism will continue to play in the contemporary world. No other study presents this material in a cross-national, comparative perspective.
This is a fast motion journey through the musical decades. Leaping back and forth from backstage scenes to practice room parties to personal encounters with the stars. Use the decade symbols at the top of each page as a guide or scan through the index to search for known names. Throughout this musical diary you will discover rare and yet unpublished photos from Peter's personal archive. There is so much waiting here to be unveiled . . .
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