Widely known for innovative films like Meet Me in St. Louis, An American in Paris, and The Band Wagon, Vincente Minnelli also directed classic film comedies like Father of the Bride and Designing Woman, and melodramas such as The Bad and the Beautiful and Some Came Running. Though his work is beloved by filmmakers and audiences alike, Minnelli has nonetheless received very little critical attention in English. Vincente Minnelli: The Art of Entertainment remedies this imbalance, offering the first-ever comprehensive and scholarly examination of Minnelli's career within a variety of discourses and methods. Bringing together a number of previously uncollected and untranslated essays by some of the most important scholars and critics in North America, Australia, and Europe, Vincente Minnelli: The Art of Entertainment places Minnelli's cinema in its rightful position at the forefront of film history. In essays written over the last five decades, as well as a number of new essays commissioned especially for this volume, contributors consider Minnelli from a number of perspectives from auteurism to genre studies and psychoanalysis to close textual analysis. The volume is divided into four chronological sections, Minnelli in the 1960s: The Rise and Fall of an Auteur; The 1970s and 1980s: Genre, Psychoanalysis, and Close Readings; The 1990s: Matters of History, Culture, and Sexuality; and Minnelli Today: The Return of the Artist. An introduction by Joe McElhaney addresses the history of the reception of Minnelli's films, situating this reception within larger questions of film theory, criticism, and aesthetics. Too often dismissed as little more than a stylist dependent on the resources of the studio system and the structures of genre, Vincente Minnelli deserves a second look from serious film scholars. Vincente Minnelli: The Art of Entertainment demonstrates the remarkable and sustained rigor of Minnelli's vision and will appeal to students and teachers of film studies as well as fans of Minnelli's work.

NEW REVISED EDITION - The entertainment industry is a multi-billion dollar business that showcases the work, services, talent, and creativity of a cross-section of the international workforce. The modern entertainment industry is the convergence of the business of music, books, movies, television, radio, Internet, video games, theater, fashion, sports, art, merchandising, copyright, trademarks, and contracts. Employment opportunities abound in this vibrant, eclectic and exciting universe - open to anyone willing to learn and work diligently with creative enthusiasm. To be on the cutting edge of this ever-changing industry, one must possess an in-depth knowledge of the many areas that converge to form modern show business. Entertainment lovers of all ages will enjoy this engaging overview of an evolving industry; from its basic and traditional roots to today's exciting technological innovations that rapidly and constantly influence the entertainment we enjoy. Experience a fascinating and enthralling odyssey while exploring dozens of artistic disciplines that can lead to success in the international entertainment field. A spotlight shines on a variety of business options, specific endeavors, crucial information, general knowledge, detailed advice, and the art of negotiating entertainment agreements. Discover the different types of jobs and careers available in the entertainment industry and the effective tools used to produce & market products. Learn the fundamental and essential provisions of publishing & intellectual property, including! deal-making and standard contracts used by professionals in the entertainment industry. ENTERTAINMENT INDUSTRY is the second in a series of books dealing with the entertainment business by author, musician, radio host, entertainment lawyer, and historian Mark Vinet. It offers an in-depth study and detailed analysis of the diverse, colorful, and creative art forms that fill the leisure and recreational time of North Americans. This book contains the author's personal entertainment industry rules, tenets, advice, principles, opinions, philosophies, and concepts developed over a thirty-year career in show business as an artist, musician, writer, performer, businessman, manager, and entertainment/copyright/trademark lawyer. -- WADEM Publishing

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

Philosophers have discussed art – or artistic practices such as poetry – since ancient times. But systems of art and entertainment appeared only in the modern era – in the West, during the 18th and 19th centuries. And philosophers have largely neglected the concept of entertainment. In this book Andy Hamilton explores art and entertainment from a philosophical standpoint. He argues, against modernist theory, that art and entertainment are not opposites, but form a loosely connected conceptual system. Against postmodernism, however, he insists on their vital differences. Hamilton begins by questioning the received modernist view, examining artist-entertainers including Jane Austen, Charles Dickens, Louis Armstrong and Billie Holiday. Entertainment, he argues, is by nature audience-centred – but so is art, in a different way. Thus while art should pass the test of time, entertainment must pass the test of its own time – it has to entertain at the time it is produced. Art and entertainment are inter-dependent concepts, and must be understood together with other aesthetic concepts including criticism, genius, canons and design. These concepts form the subject of later chapters of this book, where Hamilton develops a meritocratic position that is neither elitist nor populist. He also addresses the contemporary charge of cultural appropriation, and qualifies it. An innovative feature of the book is the inclusion of dialogues with artists, critics and academics that help to recast or reformulate the debate. Art and Entertainment: A Philosophical Exploration is essential reading for those working in art and aesthetics, and will also be of interest to those in related disciplines such as cultural studies, music and film studies, with an interest in entertainment.

Powerful, off-beat stories about women living in the shadow of the now-frozen, now-thawing war in Ukraine Out of the impoverished coal regions of Ukraine known as the Donbass, where Russian secret military intervention coexists with banditry and insurgency, the women of Yevgenia Belorusets’s captivating collection of stories emerge from the ruins of a war, still being waged on and off, ever since the 2014 Revolution of Dignity. Through a series of unexpected encounters, we are pulled into the ordinary lives of these anonymous women: a florist, a cosmetologist, card players, readers of horoscopes, the unemployed, and a witch who catches newborns with a mitt. One refugee tries unsuccessfully to leave her broken umbrella behind as if it were a sick relative; a private caregiver in a disputed zone saves her elderly charge from the angel of death; a woman sits down on International Women’s Day and can no longer stand up; a soldier decides to marry war. Belorusets threads these tales of ebullient survival with a mix of humor, verisimilitude, the undramatic, and a profound Gogolian irony. She also weaves in twenty-three photographs that, in lyrical and historical counterpoint, form their own remarkable visual narrative.

The premiere of Erik Satie's Parade in May 1917 marked the emergence of a new musical avant-garde in Paris. To many young artists Parade exemplified a wish to escape Symbolist purity and fuse 'art' with everyday life--a rallying cry quickly adopted by Jean Cocteau in his celebrated pamphlet on new French music, The Cock And The Harlequin, in 1918.