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Journal articles on the topic 'Visual arts not elsewhere classified'

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Author: Grafiati

Published: 10 December 2022

Last updated: 19 February 2023

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1

Qureshi, Bilal. "Elsewhere." Film Quarterly 70, no. 3 (2017): 63–68. http://dx.doi.org/10.1525/fq.2017.70.3.63.

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Ava DuVernay's Queen Sugar arrives at a defining moment in American cultural life, as politics and art converge in an unprecedented moment for black creativity. The unapologetic emergence of full-fledged black subjectivity onscreen runs parallel to a new chapter in the civil rights movement. Black Lives Matter has propelled long-overdue conversations about policing, the prison-industrial complex, inequality, and structural barriers into the mainstream. The ongoing renaissance in television enabled by streaming platforms and new revenue models has opened doors for artists to explore these issues with revived creative freedom. The feisty sitcoms and criminal dramas that have contained black lives for far too long have been surpassed in quality by works more ambitious, aesthetically daring, and politically relevant. Whether it is FX's Atlanta created by and starring Donald Glover, Marvel's Luke Cage on Netflix, or the intergenerational family politics of Queen Sugar, there isn't a more exciting time to watch black lives matter and shimmer on American screens.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 70, no. 4 (2017): 77–82. http://dx.doi.org/10.1525/fq.2017.70.4.77.

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FQ Columnist Bilal Qureshi reflects on Deepa Mehta's film Earth at an important moment in Indian and global history. Writing from New Delhi, he had the opportunity to speak to Mehta in person about her life and work, and that discussion is woven into this column. Since making Earth almost twenty years ago, Deepa Mehta has seen her stature grow to include film festival premieres, an Oscar nomination, and a platform as one of the rare women auteurs on the international stage. She has lived in Canada since the 1970s, but her most celebrated films are not about immigrant displacement or hyphenated identity. Rather, she has always told Indian stories. From the groundbreaking story of a lesbian relationship between two housewives in suffocating arranged marriages (Fire, 1996) to the forced exile of widows in orthodox Hindu scripture (Water, 2005), she has confronted uncomfortable social realities in Indian society. Although she has been labeled an anti-national and had sets burned and cinemas attacked by the religious right for insulting traditional values, she has taken the challenges in stride and continued making films.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 1 (2017): 59–64. http://dx.doi.org/10.1525/fq.2017.71.1.59.

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The Jewel in the Crown was based on a quartet of acclaimed novels by the British writer Paul Scott and told the interwoven stories of colonial officers and their families living in India as the empire collapsed around them. It aired over fourteen weeks on PBS's Masterpiece Theater, from December 1984 to March 1985, and arrived in the midst of a golden age of television that included groundbreaking miniseries such as The Thorn Birds (ABC, 1983) and Brideshead Revisited (ITV, 1981). The new British import produced by Granada Television became a critical and cultural sensation–the definition of appointment television. One in nine Americans with a television set tuned in, over several months, as it transported audiences to the unseen exotic landscapes of India and the twilight of the British Raj. Qureshi reflects on this series thirty years after it first aired on American television, and finds it unexpectedly subversive, sly, and prescient.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 2 (2017): 61–64. http://dx.doi.org/10.1525/fq.2017.71.2.61.

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Two Meetings and a Funeral is an 85-minute historical opus by the artist Naeem Mohaiemen about the rise and fall of the 1970s Third World resistance movements that once threatened the emergent Western neoliberal order. By juxtaposing archival footage with a contemporary walking tour through Algiers, Dhaka, and New York, Mohaiemen asks of the failed socialist movements in the global South: “What went wrong?” In the context of this writer's cinephilia, what drew me to watch and rewatch Naeem Mohaiemen's latest film was not only its timely subject matter but also its wondrous big-screen delivery. Mohaiemen savors the possibilities of an expansive three-screen presentation in high definition with 5.1-surround sound. Which prompts other fundamental questions: What exactly constitutes gallery art and what belongs in a cinema? Where does this expansive, gripping, and elegant piece of filmmaking truly belong?

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Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 3 (2018): 77–80. http://dx.doi.org/10.1525/fq.2018.71.3.77.

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Columbus is the feature-film debut of Korean American director Kogonada, known to cinephiles for his video essays on auteurs. His film stars John Cho (Star Trek, Harold and Kumar) as Jin, a grieving son arriving in Indiana from Seoul to care for his ailing father, a renowned scholar of modernist architecture. The architectural imagery in Columbus serves as something more: it provides narrative punctuation, forming elegantly placed interludes in a moving story of the real people who live in and visit today's Columbus. It's a film about the forgotten heartland ambitions of young dreamers like Casey who face the precarious economic realities of a city beyond the thriving coasts. At a time when ideas of diversity, Middle Americanness, and technology-fueled attention-deficiency sit at the center of national cultural debates, Columbus elegantly glides across all those themes, speaking to yet not confronting them.

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6

Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 1 (2018): 69–72. http://dx.doi.org/10.1525/fq.2018.72.1.69.

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Bilal Qureshi continues to look “elsewhere,” here musing on the contrast in stereotypes and complexities between a marquee movie, Tony Gilroy's Beirut, and an art-house work, Tamer Said's In the Last Days of the City. The overlapping theatrical release of the two films allows Qureshi to juxtapose their very different visions of the Middle East. While Beirut repeats familiar tropes from Hollywood's post-9/11 Arab thrillers, In the Last Days of the City's portrait of pre-revolutionary Cairo presents a welcome alternative to this clichéd gaze, presenting instead a more authentic and genuine representation of Middle Eastern subjectivity.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 2 (2018): 67–70. http://dx.doi.org/10.1525/fq.2018.72.2.67.

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War films push the limits and emotions of the cinematic form, but the genre has rarely given its women characters a fraction of the depth afforded the male characters on the front-lines. Indian filmmaker Meghna Gulzar's new film “Raazi” re-orients the conventional narrative of war, suggesting new possibilities for a storied cinematic tradition.

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8

Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 3 (2019): 66–68. http://dx.doi.org/10.1525/fq.2019.72.3.66.

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FQ Columnist Bilal Qureshi reflects on the “Getting Real” conference for documentary filmmakers through the lens of Steve Loveridge's film, Matangi/Maya/M.I.A. (2018). Despite giving the initial impression of being a standard rockumentary, the film reveals itself to be an unsettling meditation on gender, race, politics, and the entertainment industry's chronic limitations regarding voices from “elsewhere.” As such, it provides Qureshi with an ideal subject through which to explore “Getting Reel”'s discussion of documentary's crisis of inclusion and the critical need to expand opportunities for marginalized voices.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 4 (2019): 63–67. http://dx.doi.org/10.1525/fq.2019.72.4.63.

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FQ Columnist Bilal Qureshi examines two recent German historical dramas that address the cultural and artistic process of grappling with the country's Nazi and Communist past: Florian Henckel von Donnersmarck's Werk ohne Autor (Never Look Away, 2018) and Christian Petzold's Transit (2018). He queries the two films’ highly divergent receptions at home and abroad and asks what Germany's rejection of the lush romanticism of Never Look Away—and embrace of Christian Petzold's unresolved puzzles—can tell us about the shifting grounds of how history is seen and interpreted on-screen in this moment.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 73, no. 1 (2019): 73–76. http://dx.doi.org/10.1525/fq.2019.73.1.73.

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FQ Columnist Bilal Qureshi discusses the new Netflix film, The Burial of Kojo, released in March 2019 as part of the platform's slate of high-profile films. The debut feature film by the Ghanaian-born and Brooklyn-based artist Samuel “Blitz” Bazawule (known by his stage name, Blitz the Ambassador), Kojo weaves together urgent questions of pollution, corruption, urbanization, and Chinese expansion into West Africa, but places them in the background of a deeply felt story of one daughter's search for her missing father. Qureshi discusses the film in the broader context of the crisis of representation that afflicts African peoples, countries, and stories, due to the absence of storytellers from the region on the global stage. These themes came into sharper focus for Qureshi during a visit to the Venice Biennale, which for the first time ever includes a Ghana Pavilion.

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11

Qureshi, Bilal. "Elsewhere." Film Quarterly 73, no. 2 (2019): 62–65. http://dx.doi.org/10.1525/fq.2019.73.2.62.

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FQ columnist Bilal Qureshi compares two seemingly similar summer movies: Gurinder Chadha's Blinded by the Light and Danny Boyle's Yesterday, both of which feature music-obsessed South Asian male leads. However, while Boyle's film adopts a race-blind perspective, promoting a vision (or fantasy) of a multiracial Britain of friendships and intimacy, in Blinded by the Light, Chadha pushes her long-standing interest in race and multiculturalism beyond the feel-good sensibilities of her earlier hit, Bend it Like Beckham. Instead, Qureshi argues, Chadha has made a subversively political film, bristling with an urgent plea for empathy, inspired by the blinding xenophobia of Brexit.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 73, no. 3 (2020): 79–82. http://dx.doi.org/10.1525/fq.2020.73.3.79.

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FQ Columnist Bilal Qureshi observes that while think pieces and popular culture alike depict heterosexual relationships as in crisis in the age of Tinder, gay love is blossoming in mainstream cinema, breaking out of its marginalized festival circuits to help redefine what it means to love and be loved in 2019. As his starting point, Qureshi discusses Lucio Castro's End of the Century (2019), a deeply personal film (for both the director and this critic) that Qureshi sees as emblematic of the ways in which a new generation of films have expanded the canon of gay romance. No longer burdened by tragedy and the fight for equal rights, films such as End of the Century, Moonlight, and Call Me By Your Name are free to focus instead on the universal mysteries of love, in ways that appeal to straight and queer audiences alike.

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13

Qureshi, Bilal. "Elsewhere." Film Quarterly 73, no. 4 (2020): 65–67. http://dx.doi.org/10.1525/fq.2020.73.4.65.

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FQ columnist Bilal Qureshi reflects upon the significance of Bong Joon-ho's Parasite's Oscar victory over the presumed favorite, Sam Mendes' World War I drama 1917 for both the film industry and the culture at large. In keeping with the premise of his column “Elsewhere,” which explores the ways in which cinematic works are activated and reframed by the national, cultural, and aesthetic geography of where they are experienced, Qureshi offers a fresh perspective on these two films based upon his experience of watching 1917 in Dubai, with Arabic subtitles and an ethnically diverse audience. Viewed in this Middle Eastern context, a film dismissed as passé and traditional by U.S. critics revealed itself as urgent and resonant, transcending differences of language and geography to offer a potent reminder of why the pain and loss of war still matters.

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14

Moore Saggese, Jordana. "Looking Elsewhere." Art Journal 79, no. 2 (April 2, 2020): 5. http://dx.doi.org/10.1080/00043249.2020.1765572.

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15

Qureshi, Bilal. "Elsewhere: The Last Circus." Film Quarterly 74, no. 1 (2020): 84–87. http://dx.doi.org/10.1525/fq.2020.74.1.84.

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FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.

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16

Melgar, Lucía. "Always Thinking Elsewhere." Review: Literature and Arts of the Americas 41, no. 2 (November 2008): 276–82. http://dx.doi.org/10.1080/08905760802402535.

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17

Solomon, Jon, and Lu Pan. "Bordering Hong Kong: Towards a heterotopic ‘elsewhere’." Journal of Contemporary Chinese Art 8, no. 1 (July 1, 2021): 3–12. http://dx.doi.org/10.1386/jcca_00034_2.

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18

Thomson, John, and Joye Volker. "Australian visual arts: libraries and the new technologies." Art Libraries Journal 21, no. 1 (1996): 4–7. http://dx.doi.org/10.1017/s0307472200009676.

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Electronic networking has been welcomed in Australia not least because of its potential to help solve problems of distances within Australia and of the isolation of Australia. In the world as a whole, the Internet, and the World Wide Web in particular, is transforming the communication of art information and access to art images. Three Australian Web servers focus on the visual arts: Art Serve, Diva, and AusArts. A number of initiatives intended to provide online bibliographic databases devoted to Australian art were launched in the 1980s. More recently a number of CD-ROMs have been published. As elsewhere, art librarians in Australia need new skills to integrate these products of new technology into the art library, and to transform the latter into a multimedia resource centre.

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19

Wright, Alastair. "Response: Thoughts on Difference in India and Elsewhere." Art Bulletin 90, no. 4 (December 2008): 549–55. http://dx.doi.org/10.1080/00043079.2008.10786409.

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20

Joselit, David, and Ann Reynolds. "Robert Smithson: Learning from New Jersey and Elsewhere." Art Bulletin 85, no. 3 (September 2003): 620. http://dx.doi.org/10.2307/3177393.

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21

Christie, Ian. "British Cinema – A View from (Elsewhere in) Europe." Journal of British Cinema and Television 1, no. 1 (May 2004): 120–22. http://dx.doi.org/10.3366/jbctv.2004.1.1.120.

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22

Osthoff, Simone. "Elsewhere in Contemporary Art: Topologies of Artists' Works, Writings, and Archives." Art Journal 65, no. 4 (December 1, 2006): 6. http://dx.doi.org/10.2307/20068494.

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23

Osthoff, Simone. "Elsewhere in Contemporary Art: Topologies of Artists' Works, Writings, and Archives." Art Journal 65, no. 4 (December 2006): 6–17. http://dx.doi.org/10.1080/00043249.2006.10791223.

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24

Kellman, Anthony, and Derek Walcott. "Testimony From Here and Elsewhere." Callaloo, no. 40 (1989): 605. http://dx.doi.org/10.2307/2931306.

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Ellis-King, Deirdre, and Marjory Sliney. "Public Libraries in Ireland II. Public libraries and the visual arts today." Art Libraries Journal 25, no. 3 (2000): 41–44. http://dx.doi.org/10.1017/s0307472200011779.

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In recent years increased interest in the visual arts has led public libraries to increase stock to support this area, to organise exhibitions and to make connections with other arts-related bodies. The recognised extent, quality and value of the public library network lie both in its service to users and in good-quality and centrally located buildings. Imaginative links have been made between the library service and other cultural institutions in Ireland and elsewhere in Europe, particularly in the many thinly populated areas of the country which could otherwise be isolated from the cultural facilities available in the larger conurbations.

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26

Burrows, Jon. "‘A Vague Chinese Quarter Elsewhere’: Limehouse in the Cinema 1914–36." Journal of British Cinema and Television 6, no. 2 (August 2009): 282–301. http://dx.doi.org/10.3366/e1743452109000946.

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27

Gorman, Tom, Tiina Syrjä, and Mikko Kanninen. "There is a world elsewhere: rehearsing and training through immersive telepresence." Theatre, Dance and Performance Training 10, no. 2 (May 4, 2019): 208–26. http://dx.doi.org/10.1080/19443927.2019.1610491.

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Kerr, Rosalind. "Diana Brydon and Irina R. Makaryk, eds. Shakespeare in Canada: A World Elsewhere." Theatre Research in Canada 23, no. 1-2 (September 2002): 161–64. http://dx.doi.org/10.3138/tric.23.1_2.161.

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Croft, Clare. "Not Yet and Elsewhere: Locating Lesbian Identity in Performance Archives, as Performance Archives." Contemporary Theatre Review 31, no. 1-2 (April 3, 2021): 34–50. http://dx.doi.org/10.1080/10486801.2021.1878504.

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Filewod, Alan. "The Interactive Documentary in Canada: Catalyst Theatre's Its About Time." Theatre Research in Canada 6, no. 2 (January 1985): 133–47. http://dx.doi.org/10.3138/tric.6.2.133.

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Catalyst Theatre's 1982 production of It's About Time, an interactive performance for prison inmates, was a major development in political theatre in English Canada. In its theatrical techniques, the play resembled the 'theatre forum' of the Brazilian director Augusto Boal, but Catalyst's form of interventionist theatre developed independently of parallel forms elsewhere. An analysis of It's About Time compares Catalyst's techniques with Boal's more well-known model of interactive political theatre.

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Smith, Paul Julian. "Screenings." Film Quarterly 70, no. 2 (2016): 63–67. http://dx.doi.org/10.1525/fq.2016.70.2.63.

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Paul Julian Smith assesses Pedro Almodóvar's twentieth feature, Julieta, released in Spain to widespread press controversy and relative audience indifference, alongside three other recently released Spanish films that are making waves in Spain and elsewhere: the big-budget historical romance Palmeras en la nieve (Palm Trees in the Snow, Fernando González Molina, 2015), La novia (The Bride, Paula Ortiz, 2016), and Nuestros amantes (Our Lovers, Miguel Ángel Lamata, 2016).

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Noonan, James. "Lord Lorne Goes to the Theatre, 1878-1883." Theatre Research in Canada 11, no. 1 (January 1990): 29–47. http://dx.doi.org/10.3138/tric.11.1.29.

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This article examines the involvement of Lord Lorne, Governor General of Canada from 1878 to 1883, and to a lesser extent that of his wife, Princess Louise, in theatre both at Rideau Hall and elsewhere in Ottawa, and in their travels in Canada and the United States. Using Lorne's diary as well as newspapers and magazines of the day, it seeks to recreate the theatre life of the capital during the Lornes' tenure in Canada.

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Okoye, Ikem Stanley. "Review: Swahili Port Cities: The Architecture of Elsewhere, by Prita Meier." Journal of the Society of Architectural Historians 76, no. 1 (March 1, 2017): 113–15. http://dx.doi.org/10.1525/jsah.2017.76.1.113.

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Saunt, Deborah. "Generative design defended Gender differences discussed." Architectural Research Quarterly 7, no. 1 (March 2003): 6. http://dx.doi.org/10.1017/s1359135503251939.

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Is the subject of ‘gender difference’ an appropriate subject for a research journal? Perhaps it is only in the realm if architecture that this question could possibly arise at all. Elsewhere, in the real world, we know gender difference is accorded the seriousness and consequent academic research status it deserves as it is understood as a fundamental component within our culture.

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Van Der Heijden, Hans. "Generative design defended Gender differences discussed." Architectural Research Quarterly 7, no. 1 (March 2003): 5–6. http://dx.doi.org/10.1017/s135913550322193x.

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In their article, ‘Casbah: a brief history of a design concept’, (arq 6/4, pp. 321–336) Robert Oxman and his co-authors state that the matchbox models are ‘unsigned’, (caption to Figure 3b). They are not. Elsewhere, they are always credited to Herman Hertzberger. for instance in Wim van Heuvel, Structuralism in Dutch Architecture, 010 Publishers, Rotterdam, 1992, p. 13 and also in monographs on Hertzberger.

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Coates, Carrol F. "Callaloo 's Thirtieth: Haiti, the Caribbean, and Elsewhere." Callaloo 30, no. 1 (2007): 179–81. http://dx.doi.org/10.1353/cal.2007.0112.

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Pagès, Maria. "The Golden Age of Spanish Animation (1939–1951)." Animation 15, no. 1 (March 2020): 37–60. http://dx.doi.org/10.1177/1746847719898851.

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During the 1940s, the Spanish animation industry based in Barcelona reached a high technical level. Despite the Franco dictatorship and austerity following the Spanish Civil War, the Catalan animation industry produced feature-length films that bore comparison with those made elsewhere in Europe. This article looks at the reasons for and the nature of Barcelona’s Golden Age of Animation, and follows the steps on the industry’s path to technical mastery. The author revisits the history of the Spanish Golden Age of Animation (which lasted from 1939 to 1951) in the context of the international animation scene at the time.

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Addleman-Frankel, Kate. "The Experience of Elsewhere: Photography in the Travelogues of Pierre Trémaux." photographies 11, no. 1 (January 2, 2018): 31–56. http://dx.doi.org/10.1080/17540763.2017.1399287.

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Schröder, Stephan Michael. "How to film an author: Portrait films of authors in the silent age in Scandinavia and elsewhere." Journal of Scandinavian Cinema 3, no. 2 (June 1, 2013): 161–81. http://dx.doi.org/10.1386/jsca.3.2.161_1.

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Marcus, Sharon. "The Theatrical Scrapbook." Theatre Survey 54, no. 2 (April 22, 2013): 283–307. http://dx.doi.org/10.1017/s0040557413000069.

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Librarian's nightmare or researcher's dream? Theatre historians frequently use and librarians happily acquire the rare theatrical scrapbook related to a single famous individual, but many undervalue and overlook ordinary theatrical albums, and with good cause: the ordinary theatrical scrapbook's provenance is often unclear, its compilers are usually unknown, and its contents are typically heterogeneous, commonplace, and decaying. The cracked bindings and flaking newsprint characteristic of such scrapbooks frustrate conservation, while their clippings, programs, and images pose serious cataloging challenges, shorn as they often are of identifying information. Finally, at least some of the material in these albums (such as newspaper clippings) is often duplicated elsewhere, making their contents easily seem redundant.

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Smyth, J. E. "The Western That Got Its Content “From Elsewhere”:High Noon, Fred Zinnemann, and Genre Cleansing." Quarterly Review of Film and Video 31, no. 1 (November 5, 2013): 42–55. http://dx.doi.org/10.1080/10509208.2011.593960.

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Wilkin, Karen. "Northernness and Other Considerations: At the Museums and Elsewhere." Hudson Review 56, no. 4 (2004): 677. http://dx.doi.org/10.2307/3852967.

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Naylor, Paul. ""Some ecstatic elsewhere": Nathaniel Mackey's Whatsaid Serif." Callaloo 23, no. 2 (2000): 592–605. http://dx.doi.org/10.1353/cal.2000.0099.

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Cooke, Catherine. "What is the point of saving old buildings?" Architectural Research Quarterly 4, no. 2 (June 2000): 137–48. http://dx.doi.org/10.1017/s135913550000258x.

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This paper was written for a special issue of the Ekaterinburg Architecton devoted to the rich Constructivist heritage of that hitherto closed city beyond the Urals. Docomomo-Russia has an active working party there, but the combination of public poverty and vigorous real-estate pressures is making the fate of these buildings uncertain. This paper sought to offer some fundamental structuring ideas to the debate. We publish it here to stimulate discussion of problems also current elsewhere, but the author stresses that it should be read with its original purpose and audience in mind.

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Wilder, Ken. "Neither Here Nor Elsewhere: Displacement Devices in Representing the Supernatural." Estetika: The European Journal of Aesthetics 48, no. 1 (May 15, 2011): 46. http://dx.doi.org/10.33134/eeja.76.

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46

Drennan, Barbara. "Theatre History-Telling: New Historiography, Logic and the Other Canadian Tradition." Theatre Research in Canada 13, no. 1 (January 1992): 46–62. http://dx.doi.org/10.3138/tric.13.1.46.

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A proliferation of sign-posts' dot the landscape of our contemporary discourse: 'postmodernism,' 'poststructuralism,' 'postcolonialism,' 'postindustrial'.... As we wearily anticipate yet another 'post' on the horizon, it becomes clear that what theatre researchers are experiencing is a significant epistemological shift which reflects a changing reality. Any change in the philosophy of knowledge will have a bearing on Theatre Historiography in Canada as elsewhere. This essay addresses this issue and outlines an 'other' theatre historiography which weaves the theories of Harold Innis and Marshall McLuhan into Michel Foucault's search for the 'rules of discourse' and Julia Kristeva's 'poetic-logic.' This exploration for historical discovery into English-Canadian theatrical discourse is mapped in relation to Alan Filewod's articulation of collective creation as a theatre-making process.

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47

Harrower, Natalie. "The Theatre of Frank McGuinness: Stages of Mutability. Edited by Helen Lojek. Dublin: Carysfort Press and Chester Springs, PA: Dufour Editions, 2003; pp. 208. $20.95 paper.; The Theatre of Marina Carr: “Before Rules Was Made.” Edited by Cathy Leeney and Anna McMullan. Dublin: Carysfort Press and Chester Springs, PA: Dufour Editions, 2003; pp. 284. $28.95 paper." Theatre Survey 46, no. 1 (May 2005): 149–53. http://dx.doi.org/10.1017/s0040557405320096.

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Frank McGuinness and Marina Carr are two of Ireland's leading contemporary playwrights, and these books are the first full-length edited collections to be dedicated exclusively to their work. While both have been the subject of numerous journal articles and book chapters, and two monographs have previously been published on McGuinness, the volume edited by Cathy Leeney and Anna McMullan marks the first full-length book on Carr. Each book offers new essays as well as those previously published elsewhere. While both volumes treat a wide variety of the playwrights' oeuvres, and both approach the material from several theoretical perspectives, the book on Carr is more accurately named in that it focuses on theatrical productions and reception of Carr's work alongside analyses of her dramatic texts.

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Smith, Justin. "Absence and Presence: Top of the Pops and the Demand for Music Videos in the 1960s." Journal of British Cinema and Television 16, no. 4 (October 2019): 492–544. http://dx.doi.org/10.3366/jbctv.2019.0497.

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While there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen's video for ‘Bohemian Rhapsody’, few scholars have pursued John Mundy's (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC's Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. This format created a demand for the top British artists' regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. These frequent absences, then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of the artists themselves appearing. Drawing on records held at the BBC's Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV's demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television's requirement to cover for an artist's studio absence.

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Brydon (book editor), Diana, Irena R. Makaryk (book editor), and Ian Munro (review author). "Shakespeare in Canada: "a world elsewhere"?" Renaissance and Reformation 39, no. 1 (January 1, 2003): 130–32. http://dx.doi.org/10.33137/rr.v39i1.8893.

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50

Martin, Carol. "Japanese Theatres: 1960s-Present." TDR/The Drama Review 44, no. 1 (March 2000): 80–84. http://dx.doi.org/10.1162/10542040051058906.

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From the Meiji restoration of 1868 through the period of Japan-as-colonial-power, to the birth of Japan, Inc. after World War II, the Japanese have responded energetically to the challenges of modernism and postmodernism— no less in theatre than elsewhere.

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