Isbn: 9780199898039 - body knowledge: performance, intermediality, and american entertainment at the turn of the twentieth century (24 résultats)

Soft cover. Etat : Near Fine. 2013, First Printing, Near Fine/no dj, octavo, 278pp., black pictorial glossy trade softcover, b7w ill's., binding tight, text unmarked.

Etat : Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : New.

Paperback. Etat : New. Brand new book, sourced directly from publisher. Dispatch time is 6-7 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Etat : As New. Unread book in perfect condition.

Paperback. Etat : New. In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded these categories. Instead, their performances adopted an aesthetic of intermediality, weaving together techniques and elements drawn from a wide variety of genres and media, including ballet, art music, photography, early modern dance, vaudeville traditions, film, and more. Onstage and onscreen, performers borrowed from existing musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers, skating neatly across various media, art forms, and traditions. Behind the scenes, they experimented with cross-promotion, new advertising techniques, and various technologies to broadcast images and tales of their performances and lives well beyond the walls of American theaters, cabarets, and halls. The performances and conceptions of art that emerged were innovative, compelling, and deeply meaningful.Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century examines these performances and the performers behind them, highlighting the Ziegfeld Follies and The Passing Show revues, Salome dancers, Isadora Duncan's Wagner dances, Adeline Genée and Bessie Clayton's "photographic" danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. By destabilizing the boundaries between various media, genres, and performance spaces, each of these women was able to create performances that negotiated turn-of-the-century American social and cultural issues: contemporary technological developments and the rise of mass reproduction, new modes of perception, the commodification of art and entertainment, the evolution of fan culture and stardom, changing understandings of the body and the self, and above all, shifting conceptions of gender, race, and sexual identity. Tracing the various modes of intermediality at work on- and offstage, Body Knowledge re-imagines early twentieth-century art and entertainment as both fluid and convergent.…

Etat : New. This book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century American social and cultural issues. Num Pages: 304 pages, 8 music examples and 21 photographs. BIC Classification: 1KBB; 3JJC; APF; ASD; JFC; JFSJ1. Category: (G) General (US: Trade). Dimension: 232 x 161 x 20. Weight in Grams: 436. . 2013. Illustrated. paperback. . . . .…

Etat : New. This book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century American social and cultural issues. Num Pages: 304 pages, 8 music examples and 21 photographs. BIC Classification: 1KBB; 3JJC; APF; ASD; JFC; JFSJ1. Category: (G) General (US: Trade). Dimension: 232 x 161 x 20. Weight in Grams: 436. . 2013. Illustrated. paperback. . . . . Books ship from the US and Ireland.…

Etat : New.

Etat : New. In English.

Paperback / softback. Etat : New. New copy - Usually dispatched within 4 working days.

Etat : As New. Unread book in perfect condition.

Paperback. Etat : New. In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded these categories. Instead, their performances adopted an aesthetic of intermediality, weaving together techniques and elements drawn from a wide variety of genres and media, including ballet, art music, photography, early modern dance, vaudeville traditions, film, and more. Onstage and onscreen, performers borrowed from existing musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers, skating neatly across various media, art forms, and traditions. Behind the scenes, they experimented with cross-promotion, new advertising techniques, and various technologies to broadcast images and tales of their performances and lives well beyond the walls of American theaters, cabarets, and halls. The performances and conceptions of art that emerged were innovative, compelling, and deeply meaningful.Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century examines these performances and the performers behind them, highlighting the Ziegfeld Follies and The Passing Show revues, Salome dancers, Isadora Duncan's Wagner dances, Adeline Genée and Bessie Clayton's "photographic" danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. By destabilizing the boundaries between various media, genres, and performance spaces, each of these women was able to create performances that negotiated turn-of-the-century American social and cultural issues: contemporary technological developments and the rise of mass reproduction, new modes of perception, the commodification of art and entertainment, the evolution of fan culture and stardom, changing understandings of the body and the self, and above all, shifting conceptions of gender, race, and sexual identity. Tracing the various modes of intermediality at work on- and offstage, Body Knowledge re-imagines early twentieth-century art and entertainment as both fluid and convergent.…

Etat : new. Questo è un articolo print on demand.

PAP. Etat : New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Etat : New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Paperback / softback. Etat : New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.

Etat : New. Print on Demand pp. 304 Illus.

Etat : New. Print on Demand pp. 304 Index.

Etat : New. PRINT ON DEMAND pp. 304 Acknowledgements.

Paperback. Etat : new. Paperback. While female performers in the early 20th century were regularly advertised as dancers, mimics, singers, or actresses, they wove together techniques and elements drawn from a wide variety of genres and media. Onstage and onscreen, performers borrowed from musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers. Behind the scenes, they experimented with cross-promotion and new advertising techniques andtechnologies to broadcast images and tales of their performances and lives well beyond the walls of American theaters, cabarets, and halls. The performances and conceptions of art that emerged wereinnovative, compelling, and deeply meaningful.Body Knowledge examines these performances and the performers behind them, highlighting the Ziegfeld Follies and The Passing Show revues, Salome dancers, Isadora Duncan's Wagner dances, Adeline Genee and Bessie Clayton's danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. As a whole, it re-imagines early twentieth-century art and entertainment as both fluidand convergent. This book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century American social and cultural issues, including new technologies, modes of perception, and conceptions of gender and race. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

Etat : New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. This book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century.…

Taschenbuch. Etat : Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded these categories. Instead, their performances adopted an aesthetic of intermediality, weaving together techniques and elements drawn from a wide variety of genres and media, including ballet, art music, photography, early modern dance, vaudeville traditions, film, and more. Onstage and onscreen, performers borrowed from existing musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers, skating neatly across various media, art forms, and traditions. Behind the scenes, they experimented with cross-promotion, new advertising techniques, and various technologies to broadcast images and tales of their performances and lives well beyond the walls of American theaters, cabarets, and halls. The performances and conceptions of art that emerged were innovative, compelling, and deeply meaningful.Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century examines these performances and the performers behind them, highlighting the Ziegfeld Follies and The Passing Show revues, Salome dancers, Isadora Duncan's Wagner dances, Adeline Genée and Bessie Clayton's 'photographic' danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. By destabilizing the boundaries between various media, genres, and performance spaces, each of these women was able to create performances that negotiated turn-of-the-century American social and cultural issues: contemporary technological developments and the rise of mass reproduction, new modes of perception, the commodification of art and entertainment, the evolution of fan culture and stardom, changing understandings of the body and the self, and above all, shifting conceptions of gender, race, and sexual identity. Tracing the various modes of intermediality at work on- and offstage, Body Knowledge re-imagines early twentieth-century art and entertainment as both fluid and convergent.…

Taschenbuch. Etat : Neu. Body Knowledge | Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century | Mary Simonson | Taschenbuch | Buch | Englisch | 2013 | Oxford University Press | EAN 9780199898039 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand. …