Bøger udgivet af Bloomsbury Academic

The Bloomsbury Handbook of Radio presents exciting new research on radio and audio, including broadcasting and podcasting. Since the birth of radio studies as a distinct subject in the 1990s, it has matured into a second wave of inquiry and scholarship. As broadcast radio has partly given way to podcasting and as community initiatives have pioneered more diverse and innovative approaches so scholars have embarked on new areas of inquiry. Divided into seven sections, the Handbook covers: - Communities - Entertainment - Democracy - Emotions - Listening - Studying Radio - Futures The Bloomsbury Handbook of Radio is designed to offer academics, researchers and practitioners an international, comprehensive collection of original essays written by a combination of well-established experts, new scholars and industry practitioners. Each section begins with an introduction by Hugh Chignell and Kathryn McDonald, putting into context each contribution, mapping the discipline and capturing new directions of radio research, while providing an invaluable resource for radio studies.

"Explore how the sonnet has travelled through a striking range of European and other languages and cultures, from its early modern origins to the present day"--

The genre of the video clip has been established for more than thirty years, mainly served by the sub genres of video art and music video. This book explores processes of hybridization between music video, film, and video art by presenting current theoretical discourses and engaging them through interviews with well-known artists and directors, bringing to the surface the crucial questions of art practice. The collection discusses topics including postcolonialism, posthumanism, gender, race and class and addresses questions regarding the hybrid media structure of video, the diffusion between content and form, art and commerce as well as pop culture and counterculture. Through the diversity of the areas and interviews included, the book builds on and moves beyond earlier aesthetics-driven perspectives on music video.

When the first Fast & Furious film was released in June 2001, few predicted that it would be a box office hit, let alone the launchpad for a multi-billion-dollar franchise. A mid-budget crime movie set around L.A.'s underground car-racing scene, featuring a cast of relative unknowns, the film became one of the surprise hits of that summer, earning more than 5 times its budget in worldwide ticket sales. 2 decades and 9 films later, Fast & Furious today ranks among the 10 highest-grossing movie franchises of all time, with a box office total of $6.6 billion and has also given rise to an animated TV show and theme park ride. Full-Throttle Franchise is the first book to offer an in-depth analysis of the Fast & Furious, bringing together a range of scholars to explore not only the style and themes of the franchise, but also its broader cultural impact and legacy. The collected essays establish the franchise's importance in cinematic and ideological terms, linking their discussions to wider issues of genre, representation, adaptation, and industry. Topics range from stardom and performance, focusing on key actors Vin Diesel and Dwayne Johnson, to the way in which Fast & Furious intersects with dominant ideas of racial, gender, and sexual identity. Aimed at both scholars and fans, Full-Throttle Franchise seeks to uncover just what has made Fast & Furious so enduringly popular, mapping its outrageous set pieces, ever-expanding universe, and growing cast of global megastars in terms of wider cultural and industrial forces.

Choral Voices: Ethnographic Imaginations of Sound and Sacrality is about sacred and secular choirs in Goa and Shillong across churches, seminaries, schools, auditoriums, classrooms, reality TV shows, and festivals. Voice and genre emerge as social objects annotated by tradition, nostalgia, and innovation. Piety literally and metaphorically shapes the Christian lifeworld, predominantly those belonging to the Presbyterian and Catholic denominations. Indigeneity structures the political and cultural motifs in the making of the Christian musical traditions. Located at the intersection of Sociology, Anthropology, and Ethnomusicology, the choral voices emplace 'affect' and the visual-aural dispatch. Thus, sonic spectrum holds space for indigenous and global musicality.This ethnographic work will be useful for scholars researching music and sound studies, religious studies, cultural anthropology, and sociology of India.

Becoming Noise Music tells the story of noise music in its first 50 years, using a focus on the music's sound and aesthetics to do so. Part One focuses on the emergence and stabilization of noise music across the 1980s and 1990s, whilst Part Two explores noise in the twenty-first century. Each chapter contextualizes - tells the story - of the music under discussion before describing and interpreting its sound and aesthetic. Stephen Graham uses the idea of 'becoming' to capture the unresolved 'dialectical' tension between 'noise' disorder and 'musical' order in the music itself; the experiences listeners often have in response; and the overarching 'story' or 'becoming' of the genre that has taken place in this first fifty or so years. The book therefore doubles up on becoming: it is about both the becoming it identifies in, and the larger, genre-making process of the becoming of, noise music. On the latter count, it is the first scholarly book to focus in such depth and breadth on the sound and story of noise music, as opposed to contextual questions of politics, history or sociology. Relevant to both musicology and noise audiences, Becoming Noise Music investigates a vital but analytically underexplored area of avant-garde musical practice.

Alejandro Jodorowsky is a theatre director, writer of graphic novels and comics, novelist, poet, and an expert in the Tarot. He is also an auteur filmmaker who garnered attention with his breakthrough film El Topo in 1970. He has been called a "cult" filmmaker, whose films are surreal, hallucinatory, and provocative.The Transformative Cinema of Alejandro Jodorowsky explores the ways in which Jodorowsky's films are transformative in a psychologically therapeutic way. It also examines his signature style, which includes the symbolic meaning of various colors in which he clothes his actors, the use of his own family members in the films, and his casting of himself in leading roles. This total involvement of himself and his family in his auteur films led to his psycho-therapeutic theories and practices: metagenealogy and psychomagic. This book is the only the second book in the English language in print that deals with all of Jodorowsky's films, beginning with his earliest mime film in 1957 and ending with his 2019 film on psychomagic. It also connects his work as a writer and therapist to his films, which themselves attempt to obliterate the line between fantasy and reality.

In a "return" to Edmund Husserl and Sigmund Freud, Intimacy and the Anxieties of Cinematic Flesh explores how we can engage these foundational thinkers of phenomenology and psychoanalysis in an original approach to film. The idea of the intimate spectator caught up in anxiety is developed to investigate a range of topics central to these critical approaches and cinema, including: flesh as a disruptive state formed in the relationships of intimacy and anxiety; time and the formation of cinema's enduring objects; space and things; the sensual, the "real" and the unconscious; wildness, disruption, and resistance; and the nightmare, reading "phantasy" across the critical fields.Along with Husserl and Freud, other key thinkers discussed include Edith Stein, Roman Ingarden, Maurice Merleau-Ponty, Mikel Dufrenne in phenomenology; Melanie Klein, Ernest Jones, Julia Kristeva, and Rosine Lefort in psychoanalysis. Framing these issues and critical approaches is the question: how might Husserlian phenomenology and Freudian/Lacanian psychoanalysis, so often seen as contradistinctive, be explored through their potential commonalities rather than differences? In addressing such a question, this book postulates a new approach to film through this phenomenological/psychoanalytic reconceptualization. A wide range of films are examined not simply as exemplars, but to test the idea that cinema itself can be a version of critical thinking.

Watership Down (Martin Rosen, 1978) is as controversial as it is beloved. Whether due to the tear-jerking hit song 'Bright Eyes' or its notorious representation of violence inflicted by and upon animated rabbits, the film retains the ability to move and shock audiences of all ages, remaining an important cultural touchstone decades after its original release. This open access collection unites scholars and practitioners from a diversity of perspectives to consider the ongoing legacy of this landmark of British cinema and animation history. The authors provide nuanced discussions of Watership Down's infamous animated depictions of violence, death and its contentious relationship with child audiences, as well as examinations of understudied aspects of the film including its musical score, use of language, its increasingly relevant political and environmental themes and its difficult journey to the screen, complete with behind-the-scenes photographs, documents and production artwork. As the first substantial work on Watership Down, this book is a valuable companion on the film for scholars, students and fans alike.The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

"Explores and articulates Jean-Luc Nancy's profound impact on our understanding of artistic and literary modernism"--

Using cine-ethnomusicology as a focus, Cineworlding introduces readers to ways of thinking eco-cinematically. Screens are omnipresent, we carry digital cinema production equipment in our pockets, but this screen-based technological revolution has barely impacted social science scholarship. Mixing existential phenomenological fiction about social science digital cinema research practice followed by theoretical reflection and discussion of methods, this book has emerged from a decade-long inquiry into cineworlding and a desire to help others produce digital media to engage creatively with the digital networks that surround us.

When the Enlightenment thinker Gotthold Ephraim Lessing wrote his treatise Laocoon: An Essay on the Limits of Painting and Poetry in 1766, he outlined the strengths and weaknesses of each art. Painting was assigned to the realm of space; poetry to the realm of time. Space and Time in Artistic Practice and Aesthetics explores how artists since the eighteenth century up to the present day have grappled with the consequences of Lessing's theory and those that it spawned. As the book reveals, many artists have been - and continue to be - influenced by Lessing-like theories, which have percolated into the art education and art criticism. Artists from Jean Raoux to Willem de Kooning and Frances Bacon, and art critics such as Clement Greenberg, have felt the weight of Lessing's theories in their modes of creation, whether consciously or not. Should we sound the death knell for the theories of Lessing and his kind? Or will conceptions of temporality, spatiality and artistic competition continue to unfold? This book - the first to consider how Lessing's writings connect to visual art's production - brings these questions to the fore.

How does cultural context affect the interpretation of art? What makes artists' work transnational or national in character, and how will their visibility be impacted by either label? Art and the Politics of Visibility questions these dynamics, asking how the dissemination of visual culture on a global scale affects art and its institutions. Taking Shanghai-based artist Yang Fudong's practice as a point of departure, this volume focuses on how politically charged images produced in contemporary art, cinema, literature, news media and fashion become widely consumed or marginalised. Through case studies of artists including Titus Kaphar, Sara Maple, Shirin Neshat, J.M. Coetzee, Barbara Walker and Apichatpong Weerasethakul, the book illuminates the relationship between visibility, politics and identity in contemporary visual culture.

Art is produced, circulated, consumed and disseminated within an economic system - it depends on money for its creation, for the livelihood of its makers, and for its distribution. In this sense, art can be understood as an enterprising activity. However, profit-making is rarely the primary goal of artists, and indeed the entanglement of art with enterprise generates significant aesthetic, conceptual, philosophical and ethical challenges for contemporary art practice. Social enterprise has emerged from this complex terrain with the promise of an alternative model of economic organisation in the arts. Grace McQuilten and Anthony White argue that artists can, and have, engaged critically in the commercial market, by way of this model. Art as Enterprise brings a fresh perspective to the debate about the roles of contemporary art in consumer capitalist society.

"This volume provides the first critical comparison of Michel Foucault's aesthetics of existence and Richard Shusterman's somaesthetics. Introduced by a comprehensive overview of the concepts by the editors, the ensuing chapters build on the interdisciplinary character of both ideas, beyond a narrow focus on art and beauty, exploring a wide range of topics ranging from politics to the philosophy of sexuality. This volume reveals not only the important role Foucault's philosophy has played in Shusterman's work, but also how recent developments in somaesthetics and somapower present a complement, or even alternative, to Foucault's notions of biopower and biopolitics"--

"This book analyzes the relation between dominant frameworks of LGBTQ+ identity in India and non-elite, non-metropolitan communities such as kothis, dhuranis and hijras, a spectrum of feminine-identified people usually assigned male at birth. Going beyond the well-known 'third gender' hijra community, this is the first book to study the discourses and practices of related but underrepresented groups like kothis and dhuranis in small-town and rural India while simultaneously examining their relation to and role within LGBT identity politics"--

"Featuring case studies, essays, and conversation pieces by scholars and practitioners, this volume explores how Indian cinematic adaptations outside the geopolitical and cultural boundaries of India are revitalizing the broader landscape of Shakespeare research, performance, and pedagogy. Essays in this volume address practical and thematic concerns and opportunities that are specific to studying Indian cinematic Shakespeares in the West. For instance, how have intercultural encounters between Indian Shakespeare films and American students inspired new pedagogic methodologies? How has the presence and popularity of Indian Shakespeare films affected policy change at British cultural institutions? How can disagreement between eastern and western perspectives on the politics of a Shakespeare film become the site for productive cross-cultural dialogue? This is the first book to explore such complex interactions between Indian Shakespeare films and Western audiences to contribute to the assessment of the new networks that have emerged as a result of Global Shakespeare studies and practices. The volume argues that by tracking critical currents from India towards the West new insights are afforded on the wider field of Shakespeare Studies - including feminist Shakespeares, translation in Shakespeare, or the study of music in Shakespeare - and are shaping debates on the ownership and meaning of Shakespeare itself. Contributing to the current studies in Global Shakespeare, this book marks a discursive shift in the way Shakespeare on Indian screen is predominantly theorised and offers an alternative methodology for examining non-Anglophone cinematic Shakespeares as a whole"--

Cinema in the Arab world has been the subject of varied and rigorous studies, but most have focused on films as text, providing in-depth analyses of plot, style, ideologies, or examination of the biographies of prominent directors or actors.This innovative new volume shifts the focus on Arab cinema off-screen, to examine the histories, politics, and conditions of distribution, exhibition, and cinema-going in the Arab world. Through broadening the frame of study beyond the screen, the book widens understanding of the cinema, not merely as a collection of films-as-texts, but as a site of cultural and political contestation in the Arab world. Divided into two sections, and guided by interdisciplinary considerations, the contributors examine historical and contemporary issues of Arab cinema in terms of the experience of movie-going and filmmaking. They examine the networks of distribution and exhibition, as well as the contested and multiple meanings that the cinema embodied through diverse historical periods and geographical locations. Part I focuses on new histories of Arab cinema in terms of film production, distribution, exhibition and audience's experiences of cinema-going. Part II deals with more recent issues within scholarship on Arab cinema such as issues of politics, economics, ideologies, as well as issues related to Arab movies' international circulation and screenings at festivals. Together, the chapters enrich our understanding of the cinema in the Arab world, showing how deeply embedded it is within its social, political, and economic contexts.

Cookbooks. Menus. Ingredients. Dishes. Pots. Kitchens. Markets. Museum exhibitions. These objects, representations, and environments are part of what the volume calls the material cultures of food. The book features leading scholars, professionals, and chefs who apply a material cultural perspective to consider two relatively unexplored questions: 1) What is the material culture of food? and 2) How are frameworks, concepts, and methods of material culture used in scholarly research and professional practice? This book acknowledges that materiality is historically and culturally specific (local), but also global, as food both transcends and collapses geographical and ideological borders. Contributors capture the malleability of food, its material environments and "stuff," and its representations in media, museums, and marketing, while following food through cycles of production, circulation, and consumption. As many of the featured authors explore, food and its many material and immaterial manifestations not only reflect social issues, but also actively produce, preserve, and disrupt identities, communities, economic systems, and everyday social practices. The volume includes contributions from and interviews with a dynamic group of scholars, museum and information professionals, and chefs who represent diverse disciplines, such as communication studies, anthropology, history, American studies, folklore, and food studies.

This reference work covers the cuisine and foodways of India in all their diversity and complexity, including regions, personalities, street foods, communities and topics that have been often neglected. The book starts with an overview essay situating the Great Indian Table in relation to its geography, history and agriculture, followed by alphabetically organized entries. The entries, which are between 150 and 1,500 words long, combine facts with history, anecdotes, and legends. They are supplemented by longer entries on key topics such as regional cuisines, spice mixtures, food and medicine, rites of passages, cooking methods, rice, sweets, tea, drinks (alcoholic and soft) and the Indian diaspora. This comprehensive volume illuminates contemporary Indian cooking and cuisine in tradition and practice.

In Between the Seas, Deborah Paci takes a comparative view of islandness in island identities through case studies of islands in the Baltic and Mediterranean Seas. These case studies primarily include, in the Baltic case, the Åland Islands, Gotland, Saaremaa, Hiiumaa and Ruhnu; and in the Mediterranean case, Sicily, Malta, Sardinia and Corsica. Examining multiple sites of these islands' identities such as history, environmental concerns and governance systems, this book provides a historical perspective into the relations between islands and the larger geopolitical regions around them, as well as historicizing 'insularist' rhetoric deployed by pro-independence groups within them. Paci examines the changing role and increasing political importance of islands in the European Union against the history of island insularity and offers a significant contribution to the wider field of island studies.

Metaphor, which allows us to talk about things by comparing them to other things, is one of the most ubiquitous and adaptable features of language and thought. It allows us to clarify meaning, yet also evaluate and transform the ways we think, create and act. While we are alert to metaphor in spoken or written texts, it has, within the visual arts, been critically overlooked. Taking into consideration how metaphors are inventively embodied in the formal, technical, and stylistic aspects of visual artworks, Mark Staff Brandl shows how extensively artists rely on creative metaphor within their work. Exploring the work of a broad variety of artists - including Dawoud Bey, Dan Ramirez, Gaëlle Villedary, Raoul Deal, Sonya Clark, Titus Kaphar, Charles Boetschi, and more- he argues that metaphors are the foundation of visual thought, are chiefly determined by bodily and environmental experiences, and are embodied in artistic form. Visual artistic creation is philosophical thought. By grounding these arguments in the work of philosophers and cultural theorists, including Noël Carroll, Hans Georg Gadamer, and George Lakoff, Brandl shows how important metaphor is to understanding contemporary art. A Philosophy of Visual Metaphor in Contemporary Art takes a neglected feature of the visual arts and shows us what a vital role it plays within them. Bridging theory and practice, and drawing upon a capacious array of examples, this book is essential reading for art historians and practitioners, as well as analytic philosophers working in aesthetics and meaning.

This open access handbook explores the increasingly cross-disciplinary nature of cultural work and assesses how it engages with other fields, such as: education, research, and health; as well as the defining issues of our time such as the climate emergency, the quest for sustainable development, discrimination of all kinds, and the need for achieving greater inclusivity. Each of the book's six sections includes contributions from scholars and practitioners from across Europe based both on their experience of working in and a theoretical analysis of these areas. The book is essential reading for students of arts and cultural management, management in other creative industries, and curation.The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by The Onassis Foundation, Greece.

Establishing science fiction as its own distinct and increasingly important narrative form, this book explores how the genre challenges pervasive perceptions of society as they appear in the conventional modern novel. Inspired by, and building upon, Georg Lukács's criticism of the orthodox novel for its depiction of life as alienating and disjointed, Milner, Murphy and Roberts demonstrate that science fiction steps beyond this contemporary form to be a more constructive form of literature, one able to conceive of society as complete, integrated and well-rounded. Taking stock of three kinds of science fiction which lie outside the scope of the modern novel - theological/ ontological science fiction, the science fiction of future history and epic science fiction - this book demonstrates the genre's unique capacity to encapsulate the whole world, persons and events, things and objects in a glance, and address the motive behind the longing for meaningful totality. With reference to a vast array of works by authors such as Michel Houellebecq, Elias Canetti, Isaac Asimov, Jules Verne, H. G. Wells, Aldous Huxley, Marge Piercy, Iain M. Banks, Margaret Atwood, Ursula K. Le Guin, William Gibson, Dirk C. Fleck, Philip K. Dick, George Orwell and Kazuo Ishiguro, this book offers a compelling argument for rethinking the position and potential of the science fiction novel and to challenge the way we perceive our culture.

In 18th-century Germany philosophers were occupied with questions of who we are and what we should be. Can the individual fulfill its vocation or is this possible only for humanity as a whole? Is significant progress towards perfection in any way possible for me or just for me as part of humanity? By following the origin and nature of these debates, this collection sheds light on the vocation of humanity in early German philosophy.Featuring translations of Spalding's Contemplation on the Vocation of the Human Being in its first version from 1748 and an extended translation of Abbt's and Mendelssohn's epistolary discussion around the Doubts and the Oracle from 1767, newly-commissioned chapters cover Johann Gottfried Herder's inherently cultural concept of the human being, Immanuel Kant's transformative interplay of moral and natural aspects, and the notion of metempsychosis in Fichte's work inspired by two neglected philosophers, Gotthold Ephraim Lessing and Johann Georg Schlosser. Opening further lines of inquiry, contributors address questions about the adaptations of Spalding's work that focus on the vocation of women as wife, mother or citizen.Exploring the multitude of ways 18th-century German thinkers understand our position in the world, this volume captures major changes in metaphysics and anthropology and enriches current debates within modern philosophy.