-Film, Theatre & Dance

This resource introduces teachers to various aspects of theatre arts and helps to prepare students taking the subject for CXC.

Caribbean Dance from Abakuá to Zouk is an unprecedented overview of the dances from each of this region's major islands and the complex, fused, and layered cultures that gave birth to them. The authors in this collection, from distinguished cultural leaders to highly innovative choreographers, reveal how dance shapes personal, communal, and national identity. They also show how Caribbean rhythms, dances, fragments of movement, and even attitudes toward movement reach beyond the islands and through the extensive West Indian diaspora communities in North America, Latin America, and Europe to be embraced by the world at large.From the anthropological to the literary and from the practical to the creative, these dances are explored in the contexts of social history, tradition, ritual, and performance. Connections are made among a fascinating array of dances, both familiar and little known, from culturally based to newly created performance pieces. Particular emphasis is placed on the African contribution in making Caribbean dance distinctive. An extensive glossary of terms and more than 30 illustrations round out the book to make it the most complete resource on Caribbean dance available.

There's more to being a DP than holding a light meter! With this book as your guide, you are on your way to learning not only about the equipment and technology, but also about the concepts and thought processes that will enable you to shoot professionally, efficiently, and with artistic mastery. A leading book in the field, Cinematography has been translated into many languages and is a staple at the world's top film schools. Lavishly produced and illustrated, it covers the entire range of the profession. The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography.

Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production.

Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the classic tried and true methods.

New! A DVD and website features hours of video footage, offering key instruction in topics such as camera basics and essentials, lighting, shooting methods, and much more.

Topics include:
. Concepts of filmmaking
. Language of the lens
. Cinematic continuity
. Lighting for film, digital, and HD
. Exposure
. HD cinematography and shooting
. Shooting in HD
. Image control and filters
. Bleach bypass processes
. Lighting as storytelling
. Shooting special effects
. Set procedures and other issues

The DVD files are also available at http: //www.taylorandfrancis.com/cw/brown-9780240812090/.

Landmarks in Humanities is a single-volume survey of global culture designed for students of humanities, cultural history, and history of the arts. In chronological sequence, Landmarks highlights the most notable monuments of the human imagination--those works of art and architecture, literature, philosophy, and music that have been foremost in shaping the world's cultures. The text reflects the author's extensive background in the study of Humanities which has enabled her to craft a narrative that is at once brief and comprehensive, giving students a thorough understanding of the humanities without overwhelming them with detail. Each of the text's fifteen chapters is centered on a key idea related to the period being discussed and contains a series of valuable pedagogical features including chapter ending timelines, high- quality maps, and boxed material examining primary sources and cross-cultural comparisons. In addition, an outstanding supplements package accompanies the text, featuring a wealth of resources for both students and instructors.

InterMuse is a software package that adds a new dimension to music appreciation classes. By offering students the ability to create their own listening guides for any piece of music they choose, InterMuse allows professors to design project-based appreciation assignments for the first time.

"What Linda Stradling doesn't know about production management isn't worth knowing" The Documentary Filmmakers Group
Playing a key role in helping producers to interpret and realise the directors' vision, production managers are responsible for all organisational aspects of TV and film production - from start to finish. Now this essential handbook tells you how it's done. Written by highly experienced production manager and specialist tutor, Linda Stradling, this is a complete guide to the profession. It includes details on self-organisation and the best systems to use, budgets, schedules and cost control, hiring and firing, contracts, insurance, setting up a shoot, dealing with contributors, acquiring copyright, people skills and ethics. So whether you're just starting out or want to improve your knowledge and skills, this is the book for you.

Gain a comprehensive understanding of the business of entertainment and learn to successfully engage in all related aspects of global production and exploitation with this revised and updated handbook.

With The Producer's Business Handbook as a guide, you'll learn to create the relationships that the most successful producers have with the various participants in the motion picture industry-this guide provides a global view of how producers direct their relationships with domestic and foreign studios, agencies, attorneys, talent, completion guarantors, banks, and private investors.

You get a thorough orientation to operating production development and single-purpose production companies. You'll also become familiar with the team roles needed to operate these companies, and learn how to attach and direct them. For those outside the US, also included is information on how to produce successful films without government funding.

This edition has been updated to include comprehensive information on the internal greenlighting process, government financing, and determining actual cost-of-money. It includes new, simplified project evaluation tools, expediting funding and distribution.

Together with its companion website (www.focalpress.com/cw/leejr-9780240814636/)--which contains valuable forms and spreadsheets, tutorials, and samples-this handbook presents both instruction and worksheet support to independent producers at all levels of experience.

Memories that evoke the physical awareness of touch, smell, and bodily presence can be vital links to home for people living in diaspora from their culture of origin. How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In The Skin of the Film Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world.

Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression. Marks offers a theory of "haptic visuality"--a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste--to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada.

The Skin of the Film draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture.

This volume is the first fully comprehensive account of film production in the Third World. Although they are usually ignored or marginalized in histories of world cinema," Third World countries now produce well over half of the world's films. Roy Armes sets out initially to place this huge output in a wider context, examining the forces of tradition and colonialism that have shaped the Third World--defined as those countries that have emerged from Western control but have not fully developed their economic potential or rejected the capitalist system in favor of some socialist alternative. He then considers the paradoxes of social structure and cultural life in the post-independence world, where even such basic concepts as "nation," "national culture," and "language" are problematic.

The first experience of cinema for such countries has invariably been that of imported Western films, which created the audience and, in most cases, still dominate the market today. Thus, Third World film makers have had to ssert their identity against formidable outside pressures. The later sections of the book look at their output from a number of angles: in terms of the stages of overall growth and corresponding stages of cinematic development; from the point of view of regional evolution in Asia, Africa, and Latin America; and through a detailed examination of the work of some of the Third World's most striking film innovators.

In addition to charting the broad outlines of filmic developments too little known in Europe and the United States, the book calls into question many of the assumptions that shape conventional film history. It stresse the role of distribution in defining and limiting production, queries simplistic notions of independent "national cinemas," and points to the need to take social and economic factors into account when considering authorship in cinema. Above all, the book celebrates the achievements of a mass of largely unknown film makers who, in difficult circumstances, have distinctively expanded our definitions of the art of cinema.

Roy Armes, who lives in London, has written nine books on film, his most recent being French Cinema. He spent more than three years researching this volume.