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Frank L: Screens Producing and Media
Operations

Screens Producing and Media Operations

Advanced Practice for Media Server and Video Content Preparation

And Not Screwing It Up

The Essential Guide to Doing the School Play

Apparatus, Nostalgia, Obsolescence

Theatre as Technology

Global East Asian Screen Cultures

Power, Precarity and Working Cultures

Producing Chinese Reality Television

Shakespeare in Performance

Boika Sokolova and Kirilka Stavreva's second edition of the stage history of The Merchant of Venice interweaves into the chronology of James Bulman's first edition richly contextualised chapters on Max Reinhardt, Peter Zadek, and the first production of the play in Mandatory Palestine, directed by Leopold Jessner. The main focus of the book is on post-1990s productions across Europe and the USA. The Segue provides a broad survey of the interpretative shifts in performance from the 1930s to the second decade of the twenty-first century. Informative chapters on productions of the play by major contemporary directors present the work of Trevor Nunn, Robert Sturua, Edward Hall, Rupert Goold, Daniel Sullivan and Karin Coonrod's staging in the Venetian Ghetto. An extensive section engages with the cinematic history of the play, from silent-era adaptations, like Peter Paul Felner's Der Kaufmann von Venedig (The Jew of Mestri), through Pierre Billon's talkie Le Marchand de Venise; it includes a close analysis of Don Selwyn's Te Tangata Whai Rawa or Weniti (The Maori Merchant of Venice) and Michael Radford's William Shakespeare's The Merchant of Venice. This broad picture of key theatrical and film transformations of The Merchant of Venice will prove essential to students of the history of performance, scholars interested in the general trends and local specificities of the play's staging and reception, as well as to theatre practitioners and all those who are prepared to look into the dark history of anti-Semitism and oppression, reflected in the stage fortunes of Shakespeare's play.

The Merchant of Venice

South Asian Screen Studies

Doubles, Deception, and Discovery

Storytelling in Hindi Cinema

A Critical Reader

Contemporary Choreography

Studies in Metamodernism: Theory and Criticism across the Disciplines

The Metamodern Cinema of Taika Waititi

Routledge Research in Art History

Through a rereading of the available textual and visual sources of Symbolist theater and of the work of Nabi artists, as well as through an analysis of sources and paintings previously unexamined in the existing literature, this book rewrites the history of the cross-fertilization between Nabi art and Symbolist theater.

Through a rereading of the available textual and visual sources of Symbolist theater and of the work of Nabi artists, as well as through an analysis of sources and paintings previously unexamined in the existing literature, this book rewrites the history of the cross-fertilization between Nabi art and Symbolist theater.

The Nabis and Symbolist Theater

Yiddish Voices

This book provides the first ever English translation of the Yiddish play, Mississippi. Penned in 1935 by Leyb Malakh, it was commissioned for production by a Warsaw-based experimental Yiddish theatre company and was focused on the racial injustice of the Scottsboro Boys case which began with the wrongful arrest of nine African-American youths in Alabama, 1931. The book includes a detailed, multifaceted scholarly introduction which ranges widely and effectively across the various historical and literary contexts in which the play can be appreciated.

As our volume shows, both the writer and the director, Michal Weichert, were keen to depict a dramatic episode from contemporary life that reflected the leftist goals and ideas to which they were devoted. Alyssa Quint examines the fact that while the plight of the Scottsboro Boys lasted throughout the 1930s and inspired works of Communist or leftist struggle by a substantial number of artists and writers in the United States, few beyond America took on the subject. She looks at how Malakh's drama reflects the influence of the African American writer Langston Hughes, who wrote Scottsboro Limited in 1931 after the Boys' first trial when they were sentenced to death. Writing in 1935, after a number of successful appeals, Malakh refers to the rallies that took place throughout Europe in protest of the Boys' arrest and sentencing. The introduction also shows how the play reflects the influence of 'synchronous theater' (akin to immersive theater) as well as other avant-garde theatrical strategies of the time. Quint goes on to consider the substantial success of Mississippi, which played on city stages at least one hundred times throughout Poland and attracted significant critical attention, and what this can tell us about the connection between the Jewish people of Europe and African-Americans around this time.

This book provides the first ever English translation of the Yiddish play, Mississippi. Penned in 1935 by Leyb Malakh, it was commissioned for production by a Warsaw-based experimental Yiddish theatre company and was focused on the racial injustice of the Scottsboro Boys case which began with the wrongful arrest of nine African-American youths in Alabama, 1931. The book includes a detailed, multifaceted scholarly introduction which ranges widely and effectively across the various historical and literary contexts in which the play can be appreciated.

As our volume shows, both the writer and the director, Michal Weichert, were keen to depict a dramatic episode from contemporary life that reflected the leftist goals and ideas to which they were devoted. Alyssa Quint examines the fact that while the plight of the Scottsboro Boys lasted throughout the 1930s and inspired works of Communist or leftist struggle by a substantial number of artists and writers in the United States, few beyond America took on the subject. She looks at how Malakh’s drama reflects the influence of the African American writer Langston Hughes, who wrote Scottsboro Limited in 1931 after the Boys’ first trial when they were sentenced to death. Writing in 1935, after a number of successful appeals, Malakh refers to the rallies that took place throughout Europe in protest of the Boys’ arrest and sentencing. The introduction also shows how the play reflects the influence of ‘synchronous theater’ (akin to immersive theater) as well as other avant-garde theatrical strategies of the time. Quint goes on to consider the substantial success of Mississippi, which played on city stages at least one hundred times throughout Poland and attracted significant critical attention, and what this can tell us about the connection between the Jewish people of Europe and African-Americans around this time.

A Yiddish Play about the Scottsboro Boys

Mississippi (1935) By Leyb Malakh

Library of Gender and Popular Culture

Sex, Censorship and the Millennial Teen Film

The Study of Sound

Bringing concepts from early film theory into dialogue with the vibrant field of contemporary sound studies, Wild Sound turns an analytic eye and ear to the role of the soundscape in cinema, particularly the way that film soundtracks capture, create, represent, and even critique our sonic environment. Listening beyond music and dialogue, this book draws attention to the oft-ignored background soundscape-film's "wild sound"-which plays a quiet but substantial role in determining how film audiences feel about certain places, people, and processes. It explores the relationship between location sound and wider practices of phonographic field recording in the creation of a cinematic sonic environment. The latter half of the book shifts attention from from the controlled soundscapes of cinema to the relatively chaotic sonic environments of the world around us. Michael Pigott ultimately demonstrates how a theory of cinematic soundscapes helps us develop practical strategies for investigating the sonic environment in our personal and natural sound worlds, beyond the cinema auditorium.

Wild Sound

Screens Producing and Media Operations

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