Spring 2012 - University of California Press
Spring 2012 - University of California Press
Spring 2012 - University of California Press
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academic trade<br />
Scott Bukatman<br />
The Poetics <strong>of</strong><br />
Slumberland<br />
Animated Spirits and the<br />
Animating Spirit<br />
In The Poetics <strong>of</strong> Slumberland, Scott<br />
Bukatman celebrates play, plasmatic possibility,<br />
and the life <strong>of</strong> images in cartoons,<br />
comics, and cinema. Bukatman begins<br />
with Winsor McCay’s Little Nemo in<br />
Slumberland to explore how and why the<br />
emerging media <strong>of</strong> comics and cartoons<br />
brilliantly captured a playful, rebellious<br />
energy characterized by hyperbolic emotion,<br />
physicality, and imagination. The<br />
book broadens to consider similar “animated”<br />
behaviors in seemingly disparate<br />
media—films about Jackson Pollock, Pablo<br />
Picasso, and Vincent van Gogh; the musical<br />
My Fair Lady and the story <strong>of</strong><br />
Frankenstein; the slapstick comedies <strong>of</strong><br />
Jerry Lewis; and contemporary comic<br />
superheroes—drawing them all together as<br />
the purveyors <strong>of</strong> embodied utopias <strong>of</strong><br />
disorder.<br />
Scott Bukatman is Pr<strong>of</strong>essor <strong>of</strong> Film and Media<br />
Studies at Stanford <strong>University</strong>.<br />
MARCH<br />
276 pages, 6 x 9”, 32 color illustrations,<br />
38 b/w photographs<br />
Animation/Cinema<br />
World<br />
cloth 978-0-520-26571-4 $70.00tx/£48.95<br />
paper 978-0-520-26572-1 $29.95sc/£19.95<br />
Stephen Hinton<br />
Weill’s Musical Theater<br />
Stages <strong>of</strong> Reform<br />
In the first musicological study <strong>of</strong> Kurt<br />
Weill’s complete stage works, Stephen<br />
Hinton charts the full range <strong>of</strong> theatrical<br />
achievements by one <strong>of</strong> twentieth-century<br />
musical theater’s key figures. Hinton shows<br />
how Weill’s experiments with a range <strong>of</strong><br />
genres—from one-act operas and plays<br />
with music to Broadway musicals and filmopera—became<br />
an indispensable part <strong>of</strong><br />
the reforms he promoted during his brief<br />
but intense career. Confronting the divisive<br />
and erroneous notion <strong>of</strong> “two Weills”—one<br />
European, the other American—Hinton<br />
adopts a broad and inclusive perspective,<br />
establishing criteria that allow aspects <strong>of</strong><br />
continuity to emerge, particularly in matters<br />
<strong>of</strong> dramaturgy. Tracing his extraordinary<br />
journey as a composer, the book<br />
shows how Weill’s artistic ambitions led to<br />
his working with a remarkably heterogeneous<br />
collection <strong>of</strong> authors, such as Georg<br />
Kaiser, Bertolt Brecht, Moss Hart, Alan Jay<br />
Lerner, and Maxwell Anderson.<br />
Stephen Hinton is Avalon Pr<strong>of</strong>essor <strong>of</strong> the<br />
Humanities at Stanford <strong>University</strong> and the author<br />
<strong>of</strong> Kurt Weill: The Threepenny Opera.<br />
MAY<br />
600 pages, 6 x 9”, 7 b/w photographs, 2 tables,<br />
78 music examples<br />
Music/Opera/Composers<br />
World<br />
cloth 978-0-520-27177-7 $49.95sc/£34.95<br />
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