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In an age in which we take mass-produced commercial computer-animated likeness of persons and animals for granted, it is easy to forget that there was a time when puppets were made and by hand and handled by an individual artist. This engaging book takes us on a world journey, back in times recent and distant, to explore and examine these traditions. Surveyed are European traditional puppets; shadow puppets of Greece, Turkey, the Middle East, and North Africa; puppets in sub-Saharan Africa; the cradle of puppetry in India and Sri Lanka; puppets of China; the Wayang cultural heritage of Indonesia; trans-cultural development of puppetry in Southeast Asia; puppetry as classical and folk theater in Japan and Korea; puppets of Oceania; and puppets in the Americas - both native and imported traditions. And despite the influence of mass culture, traditional puppetry will find an audience of admirers for years to come.
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The Sheik. Pépé le Moko. Casablanca. Aladdin. Some of the most popular and frequently discussed titles in movie history are imbued with orientalism, the politically-charged way in which western artists have represented gender, race, and ethnicity in the cultures of North Africa and Asia. This is the first anthology to address and highlight orientalism in film from pre-cinema fascinations with Egyptian culture through the "Whole New World" of Aladdin. Eleven illuminating and well-illustrated essays utilize the insights of interdisciplinary cultural studies, psychoanalysis, feminism, and genre criticism. Other films discussed includeThe Letter, Caesar and Cleopatra, Lawrence of Arabia, Indochine, and several films of France's cinéma colonial
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