• Integration and disintegration in Next to Normal

      Chandler, Clare (Musical Theatre Educators Alliance, 2019-01-31)
      Romance and romantic entanglements are the fuel of traditional musical theatre, fusing words and music (Engel and Kissel 113) to create entertaining and successful shows with happy endings. Frequently, these happy romantic resolutions reinforce gender hierarchies and heteronormative stereotypes: "Women wait for love, men bring it" (Barnes 51). Tom Kitt and Brian Yorkey’s 2009 musical Next to Normal, in subverting the audience's expectations both for a "normal" heroine and a happy ending, deviates from the conventions of musical theatre and provides an interesting case study of accepted notions of the traditional, integrated musical.
    • Interview with Margret Meagher

      Prior, Ross W (Intellect, 2019-07-01)
    • Intimate Live Girls

      Halligan, Benjamin; Fairclough, Kirsty; Edgar, Robert; Spelman, Nicola (Bloomsbury Publishing, 2015)
    • Introduction

      Pheasant-Kelly, Frances; Andrews, Eleanor; HOCKENHULL, STELLA (Routledge, 2015-08)
      This book examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film. Rather than simply examining the representation of the house as national symbol, auteur trait, or in terms of genre, contributors study various rooms in the domestic sphere from an assortment of time periods and from a diversity of national cinemas―from interior spaces in ancient Rome to the Chinese kitchen, from the animated house to the metaphor of the armchair in film noir.
    • Introduction

      Satne, Paula; Scheiter, Krisanna; Satne, Paula; Scheiter, Krisanna (Springer, 2021-10-10)
    • Introduction, Wonder in Contemporary Artistic Practice

      Mieves, Christian; Brown, Irene (Routledge, 2016)
    • Introduction: Antiquity and Modernity of Soviet Marxism

      Chehonadskih, Maria; Chukhrov, Keti; Penzin, Alexei (EUSP, 2018-02-22)
      Fredric Jameson once pointed out that the Marxist tradition is already our Antiquity due to its significance and historical distance. This distance allows us to view it from the outside, and to reinvent Marxism for our own time. The same could be said about the most paradoxical version of this tradition's Soviet Marxism. However, there are particular qualities that single it out from the classical antiquity of Marxist tradition. Even internationally known Soviet works (by Vygotsky, Bakhtin, amongst В­others) are not perceived as belonging to a unitary theoretical tradition, and are even less associated with Marxism and the heritage of 1917. It may therefore seem that the October Revolution of 1917, although being recognized as the key event of the short twentieth century has not created a universally recognizable and consolidated body of thought. It is, therefore, a difficult task to outline this field, and this is why the current lens of historical distance might be helpful in attempting to grasp both this unity and the richness of its internal differentiations.
    • Introduction: Artist-Educator-Researcher

      Prior, Ross; Prior, Ross W. (Intellect, 2018-12-15)
      Using Art as Research in Learning and Teaching explores various multidisciplinary visual and performing art forms, including creative writing, as ways to provide a rich contribution and understanding to research, learning, and teaching. Key figures in the field share their art-based research, arts practice, and philosophy, bringing the arts to life within their taught and learned contexts across a variety of art forms and levels of post-compulsory education.
    • Introduction: framing and reframing/existing ways of looking

      Whitfield, Sarah; Whitfield, Sarah; Whitfield, Sarah (Macmillan International, 2019-03-13)
      In an art gallery, a painting hangs on a wall. I stop, my eye called to the painting by the wooden rectangle that separates out the bit of the wall that is ‘the art’ from the rest. The frame does the work of telling me ‘look here, not there, look at this bit. This is the bit that is art’. Even the paintings without frames are framed by the blank wall around them, so that the wall becomes its own kind of frame: ‘here is art and there is not-art’. Frames make a transition between two spaces, and shape the way we look at the art in the middle. The musical, while plainly another kind of art to a painting, has been framed in various ways that shape how it is ‘seen’ and understood. These frames may be what we bring with us, our personal histories of encounters with musicals, perhaps what we might have performed in or listened to before. Popular histories may shape how we put musicals in order, or categorise them: glossy coffee table books and TV histories illustrated with beautiful pictures of the so-called Golden Age era of musical. We may share cultural references to the musicals ‘that were always on the telly when we were growing up’. But just as significantly, critical theories and academic approaches to the musical do this work too. They shape the way the musical is taught in colleges and universities, and ripple out of academia more broadly, impacting how the form is seen and understood in public discourse.
    • Introduction: Therapeutic Culture

      Apperley, Alan; Jacobs, Stephen; Jones, Mark (Linköping University Electronic Press, 2014-10-1)
    • Island Life

      Timberlake, John (2003)
      This sequence of photographs expanded upon some of the themes of constructed landscape and fantasy touched upon in the “Another Country” series in the context of the fictional construction of time and place. This time in the context of a sequence in which the shifting conventions of painting were deployed as a signifier of that which could not be photographed directly. The photographs explored tropes of the overlooked or marginal depopulated landscape, and combined this with imagery of the seashore (a repeated trope in fantasies of time travel) to represent in a sequence of photographs the ‘as yet unphotographable’, the passage of time over several hundred years. In this the series addressed the relationship between painterly realisms and the evidentiality of locational topographic photography.
    • ‘It doesn’t reveal itself’: erosion and collapse of the image in contemporary visual practice

      Mieves, Christian (Routledge, 2018-07-19)
      The article explores the extent to which ‘pictorial art’ resists legibility, transparency and coherence. The analysis of three artistic case studies, Idris Khan, Maria Chevska and Jane and Louise Wilson, serves to investigate established hierarchies in our perception of visual referents. In the discussion, the article inquires the means of erosion, veiling and dissemblance as ways to critique assumption of the homogeneity of the image. All artists cast a view of the external world by diverting it, defacing it and distancing themselves from the external environment. However, the distancing is never disconnected from the everyday and never succumbs to abstraction. The article argues that the crisis of the image offers a productive framework that allows artists to draw attention to the absence of logical structure and the instability of the visual sign.
    • IV—Philosophical foundations of anti-casteism

      Dhanda, Meena (Oxford University Press (OUP), 2020-04-27)
      The paper begins from a working definition of caste as a contentious form of social belonging and a consideration of casteism as a form of inferiorization. It takes anti-casteism as an ideological critique aimed at unmasking the unethical operations of caste, drawing upon B. R. Ambedkar’s notion of caste as ‘graded inequality’. The politico-legal context of the unfinished trajectory of instituting protection against caste discrimination in Britain provides the backdrop for thinking through the philosophical foundations of anti-casteism. The peculiar religio-discursive aspect of ‘emergent vulnerability’ is noted, which explains the recent introduction of the trope of ‘institutional casteism’ used as a shield by deniers of caste against accusations of casteism. The language of protest historically introduced by anti-racists is thus usurped and inverted in a simulated language of anti-colonialism. It is suggested that the stymieing of the UK legislation on caste is an effect of collective hypocrisies, the refusal to acknowledge caste privilege, and the continuity of an agonistic intellectual inheritance, exemplified in the deep differences between Ambedkar and Gandhi in the Indian nationalist discourse on caste. The paper argues that for a modern anti-casteism to develop, at stake is the possibility of an ethical social solidarity. Following Ambedkar, this expansive solidarity can only be found through our willingness to subject received opinions and traditions to critical scrutiny. Since opposed groups ‘make sense’ of their worlds in ways that might generate collective hypocrisies of denial of caste effects, anti-casteism must be geared to expose the lie that caste as the system of graded inequality is benign and seamlessly self-perpetuating, when it is everywhere enforced through penalties for transgression of local caste norms with the complicity of the privileged castes. The ideal for modern anti-casteism is Maitri (friendship) formed through praxis, eschewing birth-ascribed caste status and loyalties.
    • I’m an Old Cowhand and Waiting for the Number 12

      Arnott, Steve (2007)
      An animation that continues to explore non-traditional stories and imaginative play using digital media and plastic figures. Arnott has previously worked with children to animate their own stories with traditional toys (which he collects) and digital media. This animation considers the fantastical things that could happen in the real world and do happen in the world of toys and animation. The animated stories are outcomes of research into the creative thinking enabled by playing with traditional wood and plastic toys and how this translates from older performative methods to new media presentations. The V&A approached Arnott with a view to exhibiting the work. As a project, the process developed through collaboration and detailed research. The work reflects the Museum’s collections and brings the theme of play alive, through the stop-motion animation process. It is a synthesis of ancient and modern production techniques. The resulting work appeals to a broad range of ages, those who remember some of the objects from their own childhood and children of today who are intrigued by their quirky nature.
    • “I’m Gonna Shake and Shimmy” or may be not: choreographing Hairspray–a practice as research project

      Lidbury, C (Informa UK Limited, 2019-06-03)
      © 2019, © 2019 Informa UK Limited, trading as Taylor & Francis Group. Using practice as research as my methodology I examine whether it is possible to choreograph Hairspray - the Musical while staying true to the movement principles developed by Kurt Jooss and Sigurd Leeder in the Jooss-Leeder Method. In discussing the process and the product I explore also the difficulties in choreographing for, and teaching the dances to, a cast of 15–18-year-olds in a school where there is no dance in the curriculum at this level. I conclude that selected Jooss-Leeder movement principles provide a useful framework for choreographing the musical numbers, that Leeder’s organic teaching process is effective for these novice dancers and that a lack of dance experience does not preclude a successful production.
    • Jack’s Jumper: designing a sensibility for sustainable clothing communities

      Hackney, Fiona; Hill, Katie; Saunders, Clare (IFFTI, 2019-11-04)
      Jack’s Jumper is a short film co-produced by an emergent community of participant researchers and film-makers R&A Collaborations as part of S4S Designing a Sensibility for Sustainable Clothing, an Arts and Humanities Research Council-funded research project. The need to improve the sustainability of fashion has been widely noted by academics (Black 2012; Fletcher 2008 and 2016), activist campaigns (Greenpeace and Fashion Revolution) and policy makers (Environmental Audit Committee Report on the Sustainability of the Fashion Industry, 2019). In this project the authors combine arts and social science methods, including film making, to develop a methodology for pro-environmental behaviour change and sustainable fashion through, literally and metaphorically, making a new relationship with clothes. The paper outlines the aims and purpose of the project and its methods, which include fashion design workshops designed to mimic phases of the lifecycle of clothing (making fibre and fabric, pattern cutting, mending, modifying, repurposing and clothes), films, wardrobe audits, clothing diaries and surveys. It focuses on the series of over twenty short films, including Jack’s Jumper, to consider how they might function not only as reflective devices for those involved in the project and emotional prompts for future action, but also as an affective means of building and developing a sustainable fashion sensibility among wider audiences, and the role of aesthetics and emotion in this. As such, we argue that creative participatory fashion design practices are potentially an important tool for generating a sensibility of sustainability and therefore for informing policy on behaviour change.
    • Je suis Katie – free speech in post-truth verbatim musical theatre

      Chandler, Clare (American Theatre and Drama Society, 2018-10-26)
    • Jesus

      Gregg, Stephen; Gregg, Stephen; Chryssides, George (Bloomsbury, 2019-11-14)
      It should come as no surprise that a volume on Christians requires a chapter on Jesus, called the Christ by his earliest followers in the movement that would later be labelled Christianity, and upon whom much of Christian scholarship and identity rests. However, in keeping with the Lived-Religion approach of this work, I shall be exploring the diversity of interpretations of Jesus that have impacted upon everyday Christians’ lives, rather than the grand historical or theological narratives that have been preferenced in previous generations of scholarship. Jesus matters to Christians. Interpretations of his life, teachings, death and resurrection sit at the heart of many individual Christians’ daily lives, and their relationship with God and each other. It is not for nothing that many Christians ask, ‘What Would Jesus Do?’ when making decisions in their everyday lives. But to which Jesus are we referring? Whilst this volume moves beyond the theological paradigms of previous approaches to Christianity, we may still learn from this body of scholarship. In his seminal chapter, originally published in 1972, Don Cupitt outlined the diversity of Christian responses to Jesus using the famous title ‘One Jesus, Many Christs?’ Intriguingly formulated as a question, Cupitt was arguing for a liberalization of theological approaches, not to the historical figure, but to the myriad interpretations of that figure through a diversity of social, political and religious contexts. In this chapter, I wish to continue in the spirit of Cupitt, not to write theology as he was doing, but to unpack the Lived Religion-in-action of numerous Christian individuals and communities that represent this broad spectrum of interpretations of Jesus – indeed, Jesuses – so as to understand the lived realities of relationships with Jesus for everyday Christians.
    • "Just Like That" (Performance Film)

      Kelland, Dean (http://www.deankelland.com/films/#just-like-that, 2014-11)
      Ikon, in partnership with Hippodrome Plus, presents an exhibition of international video art in the Southside district, showcasing a wide variety of free night-screenings by artists from the UK and abroad, in unusual urban spaces.