Independent Artistry is a how-to book for aspiring music artists pursuing a career in the entertainment industry independently. After reading this book, artists gain the know-how of establishing a music career by applying the fundamentals of: Songwriting, Brand Development, Copyright Law, Trademark Law, Business Incorporation, Business Finances, Small Business Taxes, Artist Management, Music Publishing, and Music Distribution - the 10 skills of Independent Artistry.
This engagingly written, research- and practice-based book defines how art teachers can build on students’ creative initiatives without depending on adult-imposed lesson plans and school requirements. In doing so, art educator and author George Szekely explores the role of the arts in developing children’s creativity and sense of purpose, and reminds readers that students in the art classroom are unique artists, designers, and innovators. Against the backdrop of a school culture that over-emphasizes compliance and standardization, Szekely recognizes the importance of the role of the art teacher in supporting the artistic independence and creative flare that occurs naturally in students of all ages in the classroom. Providing real-life examples of classrooms and schools that work towards championing child artists, this text arms teachers with the skills necessary to listen to their students and support them in presenting their ideas in class. Ultimately, Szekely challenges readers to focus the practice of art teaching on the student’s creative process, rather than the teacher’s presentation of art. Written for pre-service and in-service art educators, teacher educators, and researchers, Teaching to Support Children’s Creativity and Artistic Independence demonstrates that an openness to youthful and inquisitive visual expression inspires a more rewarding learning experience for both teacher and child artists that can support a life-long love of art.
With landmark films such as Fargo, O Brother Where art Thou?, Blood Simple, and Raising Arizona, the Coen brothers have achieved both critical and commercial success. Proving the existence of a viable market for "small" films that are also intellectually rewarding, their work has exploded generic conventions amid rich webs of transtextual references. R. Barton Palmer argues that the Coen oeuvre forms a central element in what might be called postmodernist filmmaking. Mixing high and low cultural sources and blurring genres like noir and comedy, the use of pastiche and anti-realist elements in films such as The Hudsucker Proxy and Barton Fink clearly fit the postmodernist paradigm. Palmer argues that for a full understanding of the Coen brothers' unique position within film culture, it is important to see how they have developed a new type of text within general postmodernist practice that Palmer terms commercial/independent. Analyzing their substantial body of work from this "generic" framework is the central focus of this book.
This study of ‘independent’ animation opens up a quietly subversive and vibrant dimension of contemporary Chinese culture which, hitherto, has not received as much attention as dissident art or political activism. Scholarly interest in Chinese animation has increased over the last decade, with attention paid to the conventional media circle of production, distribution and consumption. The ‘independent’ sector has been largely ignored however, until now. By focusing on distinctive independent artists like Pisan and Lei Lei, and situating their work within the present day media ecology, the author examines the relationship between the genre and the sociocultural transformation of contemporary China. Animation, the author argues, has a special significance, as the nature of the animation text is itself multilayered and given to multiple interpretations and avenues of engagement. Through an examination of the affordances of this ‘independent’ media entity, the author explores how this multifaceted cultural form reveals ambiguities that parallel contradictions in art and society. In so doing, independent animation provides a convenient ‘mirror’ for examining how recent social upheavals have been negotiated, and how certain practitioners have found effective ways for discussing the post-Socialist reality within the current political configuration.
This volume presents original theory and research on precarious work in various parts of the world, identifying its social, political and economic origins, its manifestations in the USA, Europe, Asia, and the Global South, and its consequences for personal and family life.
This indispensable collection offers 51 chapters, each focused on a distinct American independent film. Screening American Independent Film presents these films chronologically, addressing works from across more than a century (1915−2020), emphasizing the breadth and long duration of American independent cinema. The collection includes canonical examples as well as films that push against and expand the definitions of "independence." The titles run from micro-budget films through marketing-friendly Indiewood projects, from auteur-driven films and festival darlings to B-movies, genre pics, and exploitation films. The chapters also introduce students to different approaches within film studies including historical and contextual framing, industrial and institutional analysis, politics and ideology, genre and authorship, representation, film analysis, exhibition and reception, and technology. Written by leading international scholars and emerging talents in film studies, this volume is the first of its kind. Paying particular attention to issues of diversity and inclusion for both the participating scholars and the content and themes within the selected films, Screening American Independent Film is an essential resource for anyone teaching or studying American cinema.
Grasso explores the ways in which black and white 19th-century women writers define, express, and dramatize anger. Offering close readings of works by Lydia Maria Child, Maria W. Stewart, Fanny Fern, and Harriet Wilson, she shows how women used an aesthetic of discontent to address such complex social and political issues as slavery, industrialization, imperialism, and race relations.
The Global Architect explores the increasing significance of globalization processes on urban change, architectural practice and the built environment. In what is primarily a critical sociological overview of the current global architectural industry, Donald McNeill covers the "star system" of international architects who combine celebrity and hypermobility, the top firms, whose offices are currently undergoing a major global expansion, and the role of advanced information technology in expanding the geographical scope of the industry.
Taking a personal approach to the subject matter, Timothy Gray reads criticism and listens to music as though rock 'n' roll not only explains American culture, but also shores up his life. In It's Just the Normal Noises, Gray examines a wide array of writing about roots music from the 1960s to the 2000s. In addition to chapters on the genre-defining work of Peter Guralnick and Greil Marcus, he explores the influential writings of Grant Alden and Peter Blackstock, the editors of No Depression magazine, and the writers who contributed to its pages, Bill Friskicks-Warren, Ed Ward, David Cantwell, and Allison Stewart among them. A host of memoirists and novelists, from Patti Smith and Ann Powers to Eleanor Henderson and Dana Spiotta, shed light on the social effects and personal attachments of the music's many manifestations, from punk to alt country to hardcore.
