Academic literature on the topic 'Musicals Australia History and criticism'
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Journal articles on the topic "Musicals Australia History and criticism"
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Wilson, Pat H. "Singing Our Songs: Celebrating Australian Music Theatre repertoire." Australian Voice 22 (2021): 9–15. http://dx.doi.org/10.56307/bxzp3343.
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Although live theatrical performances combining music, spoken dialogue, songs, acting and dance have existed since ancient times, modern Western musical theatre (colloquially, “musicals”) emerged in the 19th century. There is an increasing interest in analysing, understanding and researching American musicals. British and European music theatre is also gathering a stronger profile academically. However, it is less well-known that Australia has a large and richly varied music theatre history. Singing teachers, vocal coaches and singers working in music theatre constantly seek to expand repertoire, especially solo material suitable for use in auditions. Lack of research attention and a dearth of readily available published scores have resulted in few performances of solo songs from the growing canon of Australian music theatre. A serious investigation, interrogating suitability and availability of the scores of Australian music theatre works, is long overdue. This paper seeks, in some small way, to commence the process.
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Milner, Andrew. "The 'English ' Ideology: Literary Criticism in England and Australia." Thesis Eleven 12, no. 1 (May 1985): 110–29. http://dx.doi.org/10.1177/072551368501200108.
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Hamilton, Judy. "Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism." Queensland Review 20, no. 2 (October 30, 2013): 203–14. http://dx.doi.org/10.1017/qre.2013.21.
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Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.
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Atkey, Mel. "A Million Miles from Broadway." Brock Review 12, no. 2 (December 5, 2011): 1–11. http://dx.doi.org/10.26522/br.v12i2.358.
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Musical theatre can take root anywhere. The future of the musical may very well lie beyond Broadway and the West End. In recent years, successful musicals have been developed in Canada, Australia and the German speaking countries. Some, like Elisabeth, have travelled internationally without ever playing in English. Companies in Korea, Japan and China are investing in new works, both domestically and internationally. These different countries can learn from each other. In South Africa, people do literally burst into song on the streets. During the apartheid era, some of the freedom fighters were known to have gone to the gallows singing. Both there and in Argentina, musical theatre played an active role in the struggle against oppression. Shows like Sarafina weren’t just about the struggle against apartheid, they were part of it. This is nothing new – the cabarets of Weimar Berlin were also struggling against oppression. In fact, the birth of the musical coincided with the birth of democracy. On the other hand, during World War II, the all-female Takarazuka Revue was co-opted by the Japanese government for propaganda purposes.
The real point of my book A Million Miles from Broadway is not just to tell a history of the musical. It’s what you do with that history after you’ve learned it that is important. Firstly to learn about our own musical theatre heritage, but also to learn about each other’s. We may find that people in other countries have found solutions to problems that we are struggling with.
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Heath, Mary. "Continuing the Cold War tradition and suppressing contemporary dissent." Alternative Law Journal 42, no. 4 (November 27, 2017): 248–52. http://dx.doi.org/10.1177/1037969x17732702.
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The Defence Special Undertakings Act 1952 (Cth) is a draconian piece of Cold War legislation originally passed to provide security for British atomic testing in Australia. There are only two known prosecutions under the Act, both involving Christian pacifists entering the Pine Gap prohibited area. In 2007, the first ever convictions under the Act were overturned on appeal. A second prosecution has now commenced. This article considers the history and context of the current prosecutions and contends that the Act is being used to suppress contemporary dissent in a period in which the Australian government already faces criticism of its treatment of the right to protest.
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Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.
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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).
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Eburn, Michael, and Stephen Dovers. "Australian wildfire litigation." International Journal of Wildland Fire 21, no. 5 (2012): 488. http://dx.doi.org/10.1071/wf11094.
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Legal liability is an issue that concerns volunteer firefighters and may affect the ability of fire managers to perform their tasks. There are calls to guarantee firefighters will not be personally liable for actions undertaken in good faith. This paper reviews post-wildfire litigation in Australia and claims for compensation made against the New South Wales Rural Fire Service. Although the data are incomplete and likely to underestimate the actual claims history, analysis of the available data does show that the number of claims for compensation is small given the very large number of fires and hazard reduction burns across Australia. There is no evidence of extensive post-fire litigation or of fire agencies or firefighters being held liable for actions taken in the course of firefighting The evidence does not support assertions that there is an ‘increasing flood’ of legal claims arising from firefighting. Post-fire litigation is compared with other proceeding such as Royal Commissions and coronial inquiries. It is argued that it is not liability, but the lengthy post-event inquiry process and the risk of personal criticism that should be the concern of fire managers and firefighters.
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Harling, Philip. "The Trouble with Convicts: From Transportation to Penal Servitude, 1840–67." Journal of British Studies 53, no. 1 (January 2014): 80–110. http://dx.doi.org/10.1017/jbr.2013.213.
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AbstractThis article makes three points about the death throes of convict transportation. First, the quarrel over transportation shows the double-edged nature of the moral critique of empire in the early Victorian era. Metropolitan criticism of transportation had its roots in the same effort to moralize the empire that was seen in the almost contemporaneous assault on slavery. But transportation was deemed too convenient a means of getting rid of criminals for Britons safely to do without it. Second, the Whig government of 1846–52 sought to save transportation by moralizing the convict before shipping him off. By this point, however, the moral objections to transportation in eastern Australia had become so strong as to make the plan untenable. Third, colonial opposition to transportation ultimately left the British government with no choice but to replace it with penal servitude at home, and the debate over crime and punishment that played out over the next decade revealed a waning of faith in convict rehabilitation that manifested itself in a harsher prison regime. In necessitating the rise of penal servitude, the end of transportation makes it clear that the empire mattered very much indeed to the reshaping of British penal policy in the mid-Victorian era.
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Griffiths, Tom. "How many trees make a forest? Cultural debates about vegetation change in Australia." Australian Journal of Botany 50, no. 4 (2002): 375. http://dx.doi.org/10.1071/bt01046.
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Environmental history, as it has emerged in recent years, is most distinctive in the way it illustrates a serious engagement between the disciplines of ecology and history. This article begins with an exploration of the lineage and promise of environmental history, particularly in the Australian setting. It then analyses a number of the cultural debates about vegetation change in Australia—about clearing, open landscapes, scrub encroachment and burning practices—and draws attention to the way that morals, politics and aesthetics shaped environmental perception and still do. Clearing was the dominant discourse in the history of landscape change and a legislative requirement for secure settlement. At the same time, criticism of clearing and its effects represented an early conservationist sensibility, but the heroic pioneering labour of clearing, the political imperatives associated with it and the escalating ecological legacy it generated, have sometimes made us forget how open was much of the Australian landscape when Europeans first arrived. The morality of clearing—the arguments for and against—focused the minds of settlers on the trees and the loss of them, while the aesthetics of pastoralism attracted their eyes to the grasslands and made them rejoice in the curious legacy of 'open' landscapes. In the early nineteenth century, the most common usage of the word 'forest' was to describe land fit to graze: 'according to the local distinction, the grass is the discriminating character [of forest land] and not the Trees'. At the same time, pastoralists were unwilling to recognise the role of Aboriginal people in creating such open landscapes and this reticence to acknowledge the Aboriginality of the pastoral economy persists today. This in turn affected the way settlers perceived the new forests that appeared after European invasion. The fate of the vegetation Europeans found has understandably been so much the focus of science and history—its removal, replacement, utilisation, modification and conservation—that 'new forests' easily escape scholarly attention; and being new, they seem far less valuable and threatened. They have generally been perceived as a nuisance, as enclosing and encroaching, as 'scrub', as 'woody weeds'. The politics of understanding regrowth are related not only to the issues of clearing and density, but especially to the culture of burning in Aboriginal and settler society and its implications for management and biodiversity. If the coming together of ecology and history best defines the new 'environmental history', then the most illuminating confluences are those where each discipline helps the other to identify what constitutes a unique 'event', both ecologically and historically. The article therefore finishes with examples of events in two landscapes—the long drought of the 1890s in western New South Wales and the Black Friday bushfires of 1939 in the mountain ash forests of Victoria—to illustrate how each emerges as an intriguing artefact of nature and history, a cultural exaggeration of a natural rhythm. Even as we discover the ecological depth of each apparently 'natural' event, we are reminded of its historical specificity.
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Moiseev, Sergey R. "Hype around (non)monetary (non)theory." Voprosy Ekonomiki, no. 9 (September 4, 2019): 112–22. http://dx.doi.org/10.32609/0042-8736-2019-9-112-122.
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In 2019 the doctrine, called “Modern Monetary Theory” (MMT), broke into the political Olympus. Political, academic and financial circles in the USA, the United Kingdom and Australia are actively discussing what was previously unthinkable: the budget deficit does not matter, the money printing is able to close the gap between government spending and taxes without inflation pressuring and other well-known ideas presented in a new light. The strict criticism of MMT was voiced by the economists of all kinds, from Kenneth Rogoff and Lawrence Summers from Harvard University to Paul Krugman from the City University of New York. All of them claim that under the mask of a new theory simple left populism is hidden. Representatives of MMT believe that when their supporters win in the upcoming elections in the USA, they will open a new page in the history of economics and politics.
Dissertations / Theses on the topic "Musicals Australia History and criticism"
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Ryan, Robin Ann 1946. ""A spiritual sound, a lonely sound" : leaf music of Southeastern aboriginal Australians, 1890s-1990s." Monash University, Dept. of Music, 1999. http://arrow.monash.edu.au/hdl/1959.1/8584.
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GRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.
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The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.
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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Serni, Nicole Mioni. "Canções cinematográficas : análise dialógica do filme musical Les Misérables /." Araraquara, 2018. http://hdl.handle.net/11449/154573.
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Orientador: Luciane de PaulaBanca: Maria da Penha Casado Alves
Banca: Marco Antonio Villarta-Neder
Banca: Odilon Helou Fleury Curado
Banca: Marina Célia Mendonça
Resumo: Esta pesquisa se propôs a analisar o filme musical Les Misérables (2012), de Tom Hooper, sob a ótica dos estudos do Círculo Bakhtin, Medviédev, Volochinov, tendo como objetivo refletir, por meio de uma análise dialógica, acerca da constituição da arquitetônica do filme musical como gênero discursivo, em sua forma, conteúdo, estilo, produção e circulação, conforme as ideias do Círculo. A partir de Les Misérables este trabalho buscou investigar a especificidade do gênero filme musical assim como analisar os diálogos entre o filme escolhido e outras obras musicais produzidas no cinema norte-americano. A canção, aqui também considerada como um gênero, é elemento constitutivo do filme escolhido e sua presença é de extrema importância na formação do musical, configurando-o como intergenérico. O filme musical norte-americano é marcado por elementos de canto e dança que se consolidam especialmente na era de ouro (anos 50 e 60). Les Miserables apresenta características diferentes de outros filmes musicais, como, por exemplo, a temática (a partir da obra de Victor Hugo), a fala cantada constante (e não apenas canto em momentos performáticos), e a ausência de dança (ainda que as movimentações sejam ritmadas). Estas especificidades do gênero discursivo filme musical foram discutidas ao longo desta pesquisa a partir da trajetória do filme musical, sendo possível, deste modo, analisar como a obra cinematográfica em questão dialoga com outras produções, de diferentes períodos; assim como as... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research aims to analyze the musical film Les Misérables (2012), by Tom Hooper, within the perspective of the Circle Bakhtin, Medviédev, Volochinov studies, having as objective to reflect, by a dialogic analysis, about the constitution of the architectonic of the musical film, as a discursive genre in its form, content, style, production and circulation, based on the ideas of the Circle. With the study of Les Misérables this work focuses on the investigation of the specificity of the musical film genre as much as analyze the dialogs between the musical film, and other musicals produced in the North American cinema. The song, here as well considered as a genre, is an element that constitutes de movie chosen and its presence is of extreme importance in the formulation of the musical, which is built with intergenres. The North American musical film is marked by elements of singing and dancing that are consolidated in the golden era (the 50's and 60's). Les Misérables presents characteristics which are different from other musical films, such as, for example, the thematic (based on the novel by Victor Hugo), the constant singing (and not just singing in performatic contexts), and the absence of dance (even though every move is punctuated). These specificities of the musical film as a discursive genre were discussed along this research from the trajectory of the musical film, making it possible to analyze how the cinematographic work in focus dialogs with other productions, f... (Complete abstract click electronic access below)
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Stafford, Andrew. "Pig city : from The Saints to Savage Garden." Thesis, Queensland University of Technology, 2004.
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She comes from Ireland, she's very beautiful
I come from Brisbane, and I'm quite plain Pig City
- The Go-Betweens, Lee Remick
If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of
London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in his home town.
This is understandable. Queensland's often stifling subtropical capital doesn't exactly spring to mind when discussing the world's great musical cities. Partly this comes down to Australian pop and rock's poor-relation status next to the United States and
the United Kingdom. Inside Australia, too, Brisbane for decades wore a provincial reputation as a big country town, at least in the southern capitals of Sydney and Melbourne.
Of course, one of the most successful bands in recording history began life in Brisbane in the late 1950s. But the Bee Gees didn't so much outgrow the city as outgrow Australia. Struggling for recognition, the Brothers Gibb began an exodus of musicians out of the country when they left for their native UK at the beginning of 1967, the year before a peanut fanner, Joh Bjelke-Petersen, took control of
Queensland's ruling Country Party (later the National Party).
The literature on Australian pop is only beginning to accumulate, so again it is understandable that Brisbane, so far, has rated little more than a footnote. The bigger problem is that the footnote has remained the same, recycled in various contexts by various authors: that music in Brisbane especially the punk scene of the late '70s -
was overwhelmingly a reaction to the repression of the Bjelke-Petersen era.
This is partly true. Bjelke-Petersen's rule of Queensland between 1968 and 1987 was nothing if not iron-fisted. Public displays of dissent were often brutally suppressed;
the rule of law was routinely bent to the will of those charged with its enforcement; minorities were treated as simply another obstacle on the path to development. To top
it all off, the electoral system was hopelessly rigged in favour of the incumbents. 'Here,' writes Rod McLeod, 'in a city practically under police curfew, you fucked and
fought, got stoned, got married, or got out of town.'
But it makes little sense to give a politician too much credit for the creation of a music scene. Major cultural movements result from an intersection of local, national and
international factors. The Saints were not so much a reaction to living in a police state as they were a response to the music of not just the Stooges and the MC5, but the Easybeats and the Missing Links. And it's doubtful the national success of a string of Brisbane acts in the '90s - from Powderfinger to George - could have happened
without the nationalisation of the Triple J network.
Of course, it would be naïve to suggest that growing up in a climate of fear and loathing did not heavily distort the prism through which these artists saw the world. As Saints guitarist Ed Kuepper says, 'I think the band was able to develop a more obnoxious demeanor, thanks to our surroundings, than had everyone been really nice.' In the words of Australian music historian Ian Mcfarlane, 'That Australia's most conservative city should give rise to such a seditious subcultural coterie is a sociological phenomenon yet to be fully explored.
This book is my attempt to document the substantial yet largely unsung contribution that Brisbane has made both to Australian popular culture and to international popular
music. In doing so, I aimed to chart the shifts in musical, political and cultural consciousness that have helped shape the city's history and identity. In its broadest
sense, Pig City is the story of how Brisbane grew up.
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吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
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Brooklyn, Bridget. "Something old, something new : divorce and divorce law in South Australia, 1859-1918." Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phb872.pdf.
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Grossman, Michèle 1957. "Entangled subjects : talk and text in collaborative indigenous Australian life-writing." Monash University, School of Literary, Visual and Performance Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5269.
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Smith, Keith. "Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.
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This project charts the extraordinary history of the Super 8 film medium, a popular amateur home movie format first introduced in 1965 and largely assumed to have disappeared with the advent of home video technologies in the early 1980's. Kodak's Worst Nightmare investigates the cultural history of the Super 8 medium with an emphasis on its (secret) life since 1986. lt asks how (and why) an apparently obsolete consumer technology has survived some 35 years into a digital future despite the emergence of technologically-advanced domestic video formats and Eastman Kodak's sustained attempts since the mid-80s to suppress, what is for it, a patently unprofitable product line. Informed by the work of Heath (1900), Zimmermann (1995), and Carroll (1996), this project takes the unusual step of isolating a specific amateur film medium as its object of study at the centre of a classic 'nature vs. nurture' debate. Arguing against a popular essentialist position which attributes the longevity of Super 8 to its unique, irreplaceable aesthetic, Kodak's Worst Nightmare proposes that Super 8 film has been a contested site in a social, cultural, political, and economic nexus where different agencies have appropriated the medium through the construction of discourses which have imposed their own meanings on the use and consumption of this cultural product. In an extraordinary cycle of subjugation, resistance and incorporation, this project finds that the meanings and potentials of Super 8 have been progressively colonised by differing institutions - firstly by Eastman Kodak ('domestic' Super 8), secondly by the alternative,independent film movement ('oppositional' Super 8 and 'indie' Super 8), and finally by the mainstream film and television industry ('professional' Super 8"). In an amazing contradiction, it is argued that Super 8 in its current incarnation has emerged as the exact opposite of Kodak's original discursive construction of its amateur status - it has become a professional medium for commercial production. Drawing together related work in the histories of domestic photography and communications technologies, and the cultural practice of everyday life, this project contributes to an area which is seriously undertheorised in the literature of film theory and cultural studies- the social, political and cultural role of amateur film technologies.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
Books on the topic "Musicals Australia History and criticism"
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The vanished musicians: Jewish refugees in Australia. Bern: Peter Lang, 2015.
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Tunley, David. William James and the beginnings of modern musical Australia. Sydney, NSW: Australian Music Centre, 2007.
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The decline of the English musician, 1788-1888: A family of English musicians in Ireland, England, Mauritius, and Australia. Oxford: Clarendon Press, 1992.
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Armiger, Martin. History of Australia: The musical. Montmorency, Vic: Yackandandah Playscripts, 1995.
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AC/DC: Hell ain't a bad place to be. New York: St. Martin's Press, 2013.
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Highway to hell. New York: Continuum, 2010.
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Jazz: The Australian accent. Sydney: University of New South Wales Press, 2008.
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Moyle, Richard M. Balgo: The musical life of a desert community. Nedlands, WA, Australia: Callaway International Resource Centre for Music Education, University of Western Australia, 1997.
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The Youngs: The brothers who built AC/DC. Edinburgh: Black & White Publishing, 2014.
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Peters, Mahora. Showband!: Mahora and the Māori Volcanics. Wellington, Aotearoa, N.Z: Huia Publishers, 2006.
Find full textBook chapters on the topic "Musicals Australia History and criticism"
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Matheson, Peter. "The Scottish Theological Diaspora." In The History of Scottish Theology, Volume III, 203–13. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198759355.003.0015.
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The Scottish diaspora in Australasia exhibits many of the characteristics of colonialism and post-colonialism. Initially the Presbyterian churches reflected their largely Free Church origins, with its Calvinism, memories of the Disruption, and evangelical churchmanship. In the Victorian period it again mirrored the Scottish Church’s opening up to mission, biblical criticism, and evolution. Two World Wars both strengthened the links to Scottish theology and encouraged a transition to ecumenism, especially in the Uniting Church of Australia, and to indigenization, with growing attention to Asian and to aboriginal and Maori theology. American influences became increasingly evident in pastoral theology. However, the personal and institutional links to all four Scottish theological faculties, Aberdeen, St Andrews, Edinburgh, and Glasgow remained and remain creative and strong.
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Gennaro, Liza. "Conclusion." In Making Broadway Dance, 218–20. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190631093.003.0009.
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Musical theater dance is an ever-changing, evolving dance form, egalitarian in its embrace of any and all dance genres. It is a living, transforming art developed by exceptional dance artists and requiring dramaturgical understanding; character analysis; knowledge of history, art, and design; and most importantly, an extensive knowledge of dance, both intellectual and embodied. Its ghettoization within criticism and scholarship as a throw-away dance form, undeserving of analysis—derivative, cliché-ridden, titillating and predictable, the ugly stepsister of both theater and dance—belies and ignores the historic role it has had in musicals as an expressive form equal to book, music, and lyric. The standard adage, “when you can’t speak anymore sing, when you can’t sing anymore dance” expresses its importance in musical theater as the ultimate form of heightened emotional, visceral, and intellectual expression....
Conference papers on the topic "Musicals Australia History and criticism"
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Xinting, Liang. "The Trajectory of Collective Life: The Ideal and Practice of New Village in Tianjin, 1920s-1950s." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4026pt85d.
Full textAbstract:
Originated from New Village Ideal in Japan, New Village was introduced to China in the early 1920s and became a byword for social reform program. Many residential designs or projects whose name includes the term “Village” or “New Village” had been completed in China since that time. This paper uses the Textual Criticism method to sort out the introduction and translation of New Village Ideal theory in China, and to compare the physical space, life organization and concepts of the New Village practices in ROC with in early PRC of Tianjin. It is found that the term “New Village” continued to be used across several historical periods, showing very similar spatial images. But the construction and usage of New Village and the meaning of collective life changed somewhat under different political positions and social circumstances: New Village gradually became an urban collective residential area which only bore the living function since it was introduced into modern China. The goal of its practice changed from building an equal autonomy to building a new field of power operation, a new discourse of social improvement and a new way for profit-seeking capital. With the change of state regime, the construction had entered a climax stage. New Village then became the symbol of the rising political and social status of the working class, and the link between the change of urban nature and spatial development. Socialism collective life and the temporal and spatial separation or combination between production and live constructed the collective conscience and identity of residents. The above findings highlight the independence of architecture history from general history, help to examine the complexity of China’s localization New Village practice and the uniqueness of Tianjin’s urban history, and provide new ideas for the study of China’s modern urban housing development from the perspective of changes in daily life organization.