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Mise en scène, Acting, and Space in Comics
This book explores some of the less frequently questioned ideas which underpin comics creation and criticism. “Mise en scène” is a term which refers to the way in which visual elements work together to create meaning in comics. It is a term that comics have borrowed from cinema, which borrowed it in turn from theatre. But comics are not film and they are not cinema, so how can this term be of any use? If we consider comics to have mise en scène, should not we also ask if the characters in comics act like the characters on film and stage? In its exploration of these ideas, this book also asks what film and theatre can learn from comics.
Mise en scène, Acting, and Space in Comics
This book explores some of the less frequently questioned ideas which underpin comics creation and criticism. “Mise en scène” is a term which refers to the way in which visual elements work together to create meaning in comics. It is a term that comics have borrowed from cinema, which borrowed it in turn from theatre. But comics are not film and they are not cinema, so how can this term be of any use? If we consider comics to have mise en scène, should not we also ask if the characters in comics act like the characters on film and stage? In its exploration of these ideas, this book also asks what film and theatre can learn from comics.
Critical Approaches to TV and Film Set Design
The analysis of scenic design in film and television is often neglected, with visual design elements relegated to part of the mise-en-scène in cinema or simply as "wallpaper" in television. Critical Approaches to TV and Film Set Design positions itself from the audience perspective to explore how we watch TV and film, and how set design enhances and influences the viewing experience. By using semiotics, history and narratology and adding concepts drawn from art, architecture and theatre, Geraint D’Arcy reworks the key concepts of set design. Looking at the impact of production design on how the viewer reads film and television, these updated theories can be applied more flexibly and extensively in academic criticism. D’Arcy creates a new theoretical approach, representing a significant expansion of the field and filling the remaining gaps. This book is ideal for anyone interested in understanding how we can read and interpret design in film and television, and should be the primary point of reference for those studying TV and film set design.
The Magic Screen
The story of the (now restored) Regent Street Cinema is the fourth volume exploring the University of Westminster's long and diverse history. This multi-authored volume tells its history from architectural, educational, legal and cinematic perspectives and is richly illustrated throughout with images from the University of Westminster archive.
Theatre and the Macabre
The ‘macabre’, as a process and product, has been haunting the theatre – and more broadly, performance – for thousands of years. In its embodied meditations on death and dying, its thematic and aesthetic grotesquerie, and its sensory-rich environments, macabre theatre invites artists and audiences to trace the stranger, darker contours of human existence. In this volume, numerous scholars explore the morbid and gruesome onstage, from freak shows to the French Grand Guignol; from Hell Houses to German Trauerspiel; from immersive theatre to dark tourism, stopping along the way to look at phantoms, severed heads, dark rides, haunted mothers and haunting children, dances of death and dismembered bodies. From Japan to Australia to England to the United States, the global macabre is framed and juxtaposed to understand how the theatre brings us face to face with the deathly and the horrific.
Production Design & the Cinematic Home
This book uses in-depth case studies to explore the significance of the design of the home on screen. The chapters draw widely upon the production designer’s professional perspective and particular creative point of view. The case studies employ a methodology Barnwell has pioneered for the analysis of production design called Visual Concept Analysis, which can be used as a key to decode the design of any given film. Through the nurturing warmth of the Browns’ home in Paddington, the ambiguous boundaries of secret service agent homes in Tinker Tailor Soldier Spy and the ‘singleton’ space occupied by Bridget Jones, Barnwell demonstrates that the domestic interior consistently plays a key role. Whether used as a transition space, an ideal, a catalyst for change or a place to return to, these case studies examine the pivotal nature of the home in storytelling and the production designers’ significance in its creation. The book benefits from interviews with production designers and artwork that provides insight on the creative process.
Staging Science
This book considers scientific performances across two centuries, from the early nineteenth century to the present day. Performances include demonstrations of technologies, experiments that look like theatre, theatre that looks like science, tourist representations and natural history film-making. Its key aim is to open debate on how scientific activity, both historical and contemporary, might be understood in the context of performance studies and the imaginative acts required to stage engaging performances. Scientific performances have become increasingly of interest to historians of science, literature and science scholars, and in the field of science studies. As yet, however, no work has sought to examine a range of scientific performances with the aim of interrogating and illuminating the kinds of critical and theoretical practices that might be employed to engage with them. With scientific performance likely to become ever more central to scholarly study in the next few years this volume offer a timely, and early, intervention in the existing debates, and aims, too, to be a touchstone for future work.
Comics and Modernism
Contributions by David M. Ball, Scott Bukatman, Hillary Chute, Jean Lee Cole, Louise Kane, Matthew Levay, Andrei Molotiu, Jonathan Najarian, Katherine Roeder, Noa Saunders, Clémence Sfadj, Nick Sturm, Glenn Willmott, and Daniel Worden Since the early 1990s, cartoonist Art Spiegelman has made the case that comics are the natural inheritor of the aesthetic tradition associated with the modernist movement of the early twentieth century. In recent years, scholars have begun to place greater import on the shared historical circumstances of early comics and literary and artistic modernism. Comics and Modernism: History, Form, and Culture is an interdisciplinary consideration of myriad social, cul...
Histories, Adaptations, and Legacies of Tinker, Tailor, Soldier, Spy
While providing critical reflections on the work across generations of enthusiasts, this is the first book exclusively dedicated to John le Carré’s 1974 novel and its adaptations in radio, TV, and film. Tinker Tailor Soldier Spy stands among the most reproduced espionage tales of all time, with adaptations in television, radio, and film. Histories, Adaptations, and Legacies of Tinker Tailor Soldier Spy is a collection of essays by international experts who each provides an account of the story’s currency across generations of audiences and scholars. Fans of the late John le Carré and the espionage genre will find here a comprehensive guidebook to the novel and its adaptations. Scholars...
Polly Platt
This book examines the career and creative labour of production designer Polly Platt. It focuses mainly on her contributions to 1970s Hollywood, but also considers her later work. Considering films such as The Last Picture Show, Paper Moon, The Bad News Bears, and The Witches of Eastwick, it argues that Platt’s construction of their visual palette and mise-en-scène was so creative and so comprehensive that it can be considered authorial. Chapters discuss Platt’s life and its influence on her work, her attention to detail, her role in location decisions and costume design, and her use of colour. An epilogue discusses her later career as a producer and her mentorship to young filmmakers like Cameron Crowe and Wes Anderson. This is the first full-length examination of the career of one of the women practitioners whose work was so important to 1970s cinema, and provides an alternative methodology to the auteur-driven framing that so regularly defines the era.
