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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 />

www.ucpress.edu | 33

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