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Among the longest continuously performed dramatic forms in the world, nō and kyōgen have a wealth of connections to Japanese culture more broadly construed. The current book brings together under one cover the most important elements of the history and culture of the two arts, profiting from the research of both Japanese and non-Japanese scholars, and offering many new insights.
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines.
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Against the backdrop of an insurgent far right and numerous deadly neo-Nazi attacks, various cultural practitioners have written far-right violence into Germany’s collective memory and imagined more inclusive futures in its wake. This volume explores contemporary examples from literature, music, theatre, film, television and art that respond to this situation. They demonstrate that, alongside the ways in which art expands the public sphere in terms of what is said and who is heard, aesthetic questions of how artistic works are presented are a crucial part of how they open up new perspectives.
The Hero on Stage from the Enlightenment to the Early Twenty-First Century
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Hercules Performed explores the reception of the ancient Greek hero Herakles – the Roman Hercules – on the western stage from the sixteenth century to the present day, focusing on live theatre, including tragedy, comedy and musical drama. Each chapter considers a particular work or theme in detail, exploring the interplay between classical models and a wide variety of modern performance contexts. The volume is one of four to be published in the Metaforms series examining the extraordinarily persistent figuring of Herakles-Hercules in western culture, drawing together scholars from a range of disciplines to offer a unique insight into the hero’s perennial appeal.
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This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. The contributors consist of both established and early-career researchers working on traditional performing arts in the region and abroad. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries. The second volume, Pusaka as Performed Heritage, comprises chapters that problematise royal court traditions in the present century with case studies that examine the viability, adaptability and contemporary contexts for coexisting administrative structures.
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In: Studies in World Cinema
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This article examines Alonso Ruizpalacios’ 2018 film Museo with a principal focus on place. It looks at the architectural history of protagonist Juan’s hometown, Ciudad Satélite, and the history of Mexico City’s Museum of Anthropology. What is the historical significance of Ciudad Satélite, which was designed by famed architect Mario Pani? What motivates Juan’s journey across Mexico? In answering these questions, it seeks to address how Museo illustrates Mexican national identity and Juan’s sense of mexicanidad. This study also considers how Museo depicts indigenous culture, spaces, and language in relation to Juan’s crime. The final portion of this article looks at Museo’s commercial distribution data. Using world cinema and festival theory, I consider how Ruizpalacios’ work illuminates the nuanced presence of Mexican cinema in global festivals.

In: Studies in World Cinema
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Grounded in Patricia White’s theorization of women’s cinema as world cinema, this article discusses select feature, documentary, and short films of two contemporary Palestinian women filmmakers, Najwa Najjar and Annemarie Jacir. Identifying the transformative and emancipatory processes within Palestinian society and the new Palestinian narratives of return as key elements in their films, this article concentrates on their contribution to the aesthetics and politics of Palestinian cinema. White’s theoretical framework allows for the analysis of the feminist and postcolonial concerns of Palestinian women filmmakers, their engagement with the minor form, and the place of their films within global production and distribution contexts. Taking into account the new responsiveness of Palestinian and global audiences, it also allows for the discussion of their increasingly prominent role in Palestinian cinema and their contribution to the struggle of women filmmakers for better conditions within the film industry.

In: Studies in World Cinema
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Preludio 11 is a little discussed Cuban-gdr co-production from the early 1960s that was part of a glut of cinematic collaborations between Cuba and predominantly socialist European partners as a means of skills exchange and relationship-building. However, the film and the fact of the organization of the collaboration can offer valuable insight into the dynamics within the international socialist camp and both Cuba and the gdr’s focus on national projection on the international stage. Through examination of the communication between collaborators – principally between the Cuban and East German cinematic institutes and internal gdr communication – on the film, this article sheds light on the political and symbolic value of Cuba to the gdr and vice versa. It also shows how those relations were in constant flux as the project developed and the two countries battled with their commitment to cultural expression and development and shifting political priorities.

In: Studies in World Cinema
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This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. Royal courts have long been sites for the creation, exchange, maintenance, and development of myriad forms of performing arts and other distinctive cultural expressions. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries.