• New Books in Performing Arts

  • 著者： Marshall Poe
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New Books in Performing Arts

著者： Marshall Poe
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  • Interviews with scholars of the performing arts about their new books Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
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Interviews with scholars of the performing arts about their new books Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
New Books Network
アート エンターテインメント・舞台芸術
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  • Biopic

    Biopic
    2024/12/01
    In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura’s book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson’s musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan’s episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
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    19 分
  • Chris Berry et al., "Taiwanese-Language Cinema: Rediscovered and Reconsidered" (Edinburgh UP, 2024)

    Chris Berry et al., "Taiwanese-Language Cinema: Rediscovered and Reconsidered" (Edinburgh UP, 2024)
    2024/11/27
    Taiwanese-Language Cinema: Rediscovered and Reconsidered (Edinburgh UP, 2024), edited by Chris Berry, Wafa Ghermani, Corrado Neri, and Ming-yeh T. Rawnsley, is a landmark contribution to studying Taiwanese cinema. The book revisits Taiyupian, a thriving yet overlooked segment of Taiwan’s cinematic history produced between the 1950s and 1970s in the Minnanhua dialect commonly used by the local Hoklo. This volume arrives at a pivotal moment when many of these films are being restored, subtitled, and critically revisited. By bringing together essays from Taiwanese and non-Taiwanese scholars, the book offers a robust framework for understanding Taiyupian’s cultural, social, and industrial dimensions. It challenges the traditional dominance of Mandarin and Japanese influences in Taiwan’s cinematic narrative, advocating for a broader, more inclusive history. The editors skilfully blend historical analysis with cultural theory, offering insights into the socio-political context that gave rise to these films and their eventual decline. The inclusion of translated Taiwanese scholarship is particularly commendable, as it ensures a dialogue between local and global perspectives. Reading this book is an eye-opening experience, especially for those unfamiliar with Taiyupian’s rich legacy. The book effectively positions these films not as relics but as dynamic cultural artefacts that continue to shape Taiwan’s cinematic and cultural identity. The writing, while scholarly, is engaging, particularly in chapters that explore Taiyupian's aesthetic and emotional resonance. The visuals and archival materials referenced throughout enhance its value as a resource for both academic and personal exploration. I wholeheartedly recommend this book to anyone interested in Taiwanese cinema, East Asian cultural studies, or the intersection of language and identity in film. Its insights resonate far beyond the specific era it examines, offering a model for how neglected histories can be rediscovered and celebrated. Dr Ming-Yeh Tsai Rawnsley is a Taiwanese media scholar, writer, and former journalist and TV screenwriter. Since 2013, she has been a Research Associate at the Centre of Taiwan Studies, SOAS University of London. She is also a Non-Resident Senior Fellow at the China Policy Institute, University of Nottingham (2014–present), a Research Fellow at the European Research Centre on Contemporary Taiwan (ERCCT), University of Tübingen (2015–present), and Research Associate at Academia Sinica, Taiwan (2018–present). M-Y T. Rawnsley is the Editor-in-Chief of the International Journal of Taiwan Studies (2018–present) and associate editor of the East Asian Journal of Popular Culture (2013–present). Bing Wang receives her PhD at the University of Leeds in 2020. Her research interests include the exploration of overseas Chinese cultural identity and critical heritage studies. She is also a freelance translator. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
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    46 分
  • David Suisman, "Instrument of War: Music and the Making of America's Soldiers" (U Chicago Press, 2024)

    David Suisman, "Instrument of War: Music and the Making of America's Soldiers" (U Chicago Press, 2024)
    2024/11/25
    In his new book, Instrument of War: Music and the Making of the America's Soldiers (University of Chicago Press, 2024), David Suisman shows that the US military has deep and multilayered investment in music. It employs thousands of musicians, whose music creates communal norms and identities. Music also helps soldiers to grapple with the realities of combat, while serving as a weapon in its own right, at places like Guantánamo Bay. Suisman calls music "a lubricant in the gears of the American war machine," and he ably shows how its elemental qualities have been used and transformed, much as the military itself has, by technology and by changing understandings of the self. Instrument of War is a first-of-its-kind study of music in the lives of American soldiers. Although musical activity has been part of war since time immemorial, the significance of the US military as a musical institution has generally gone unnoticed. Historian David Suisman traces how the US military used—and continues to use—music to train soldiers and regulate military life, and how soldiers themselves have turned to music to cope with war’s emotional and psychological realities. Opening our ears to these practices, Suisman reveals how music has enabled more than a century and a half of American war-making. Instrument of War unsettles assumptions about music as a force of uplift and beauty, demonstrating how it has also been entangled in large-scale state violence. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
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    1 時間 5 分

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