The distinguished annual in interdisciplinary textual studies

Multimedia techniques enable the production of non-traditional documents containing enourmous amounts of information. The production of such documents by a group, as opposed to an individual, is the main subject of this book. A group needs to communicate, and multimedia technology can be used to enhance group communication. How multimedia documentation and communication and groups of authors fit together are the main questions tackled. The book describes the construction of a conceptual framework and the prototype system, CoMEdiA, as well as how the system was used to conduct a group effectiveness study involving two applications: cooperative software engineering and data production. Thus the work relates to multimedia communication, cooperative editing, and group support and effectiveness.

Cut to the Monkey is the story of a filmmaker's journey through Hollywood—revealing the techniques behind how the experts find the funny in any project—by a filmmaker who has worked with some of the funniest people in the business and has edited Emmy-nominated episodes from series such as Curb Your Enthusiasm, Veep, and Who Is America? Nobody knows who first said, "Dying is easy, comedy is hard." But almost everyone in the film business agrees it's true. Roger Nygard shares his anecdotal experiences in television, features, and documentaries as a filmmaker and editor—struggles and successes any filmmaker can identify with. Nygard also includes tips for Hollywood professionals and fans alike on how to successfully navigate the business of being funny. Along with a major focus on film editing, the author shares filmmaking stories that will leave readers feeling inspired and better prepared to deal with their own struggles. The book also features contributions about writing, creating, and editing comedy from some of the biggest names in the comedy business, including Judd Apatow (Girls, The 40-Year-Old Virgin), Alec Berg (Silicon Valley, Barry), Sacha Baron Cohen (Borat, Who Is America?), Mike Binder (The Upside of Anger, Black or White), Larry David (Seinfeld, Curb Your Enthusiasm), Julia Louis-Dreyfus (Seinfeld, Veep), David Mandel (Veep, The White House Plumbers), Jeff Schaffer (The League, Dave), Krista Vernoff (Shameless, Grey's Anatomy), and others.

"The bringing of Spanish seventeenth-century verse plays to the contemporary English-speaking stage involves a number of fundamental questions. Are verse translations preferable to prose, and if so, what kind of verse? To what degree should translations aim to be 'faithful'? Which kinds of plays 'work', and which do not? Which values and customs of the past present no difficulties for contemporary audiences, and which need to be decoded in performance?Which kinds of staging are suitable, and which are not? To what degree, if any, should one aim for 'authenticity' in staging? In this volume, a group of translators, directors, and scholars explores these and related questions."--Jacket

A comprehensive guide to writing, selling and performing all types of comedy. Includes comments, advice, gags and routines from top comics.

This volume is a record of the first Eurographics Workshop on Multimedia, held at the department of Numerical Analysis and Computing Science (NADA), Royal Institute of Technology, Stockholm, April 18-19, 1991. Eurographics is the European Association for Computer Graphics. It is a non-profit organization, one of whose activities is organizing workshops to provide an interface between academic and industrial research in the field of computer graphics. The idea of holding a Eurographics workshop on multimedia was put forward at the Eurographics conference in 1989. Following the success of this first workshop, a second workshop has been announced, to take place in Darmstadt, May 4-6, 1992. The Stockholm workshop met with great interest and many good contributions were received by the program committee. There were approximately 40 participants and 23 presentations were given - so many indeed that one might characterize the workshop as a working conference - and there were many discussions focusing on the presentations. The presentations dealt with a range of topics, including the clarification of ideas about the different concepts in multimedia, object-oriented methods for multimedia, multimedia from psychological perspectives, synchronization problems in multimedia, cooperative work using multimedia, and building multimedia interfaces. The presentations were the focus for numerous discussions. There was also a small exhibition of four different multimedia systems, representing the spectrum from research prototypes to commercial products.

Comedy is a powerful contemporary source of influence and information. In the still-evolving digital era, the opportunity to consume and share comedy has never been as available. And yet, despite its vast cultural imprint, comedy is a little-understood vehicle for serious public engagement in urgent social justice issues – even though humor offers frames of hope and optimism that can encourage participation in social problems. Moreover, in the midst of a merger of entertainment and news in the contemporary information ecology, and a decline in perceptions of trust in government and traditional media institutions, comedy may be a unique force for change in pressing social justice challenges. Comedians who say something serious about the world while they make us laugh are capable of mobilizing the masses, focusing a critical lens on injustices, and injecting hope and optimism into seemingly hopeless problems. By combining communication and social justice frameworks with contemporary comedy examples, authors Caty Borum Chattoo and Lauren Feldman show us how comedy can help to serve as a vehicle of change. Through rich case studies, audience research, and interviews with comedians and social justice leaders and strategists, A Comedian and an Activist Walk Into a Bar: The Serious Role of Comedy in Social Justice explains how comedy – both in the entertainment marketplace and as cultural strategy – can engage audiences with issues such as global poverty, climate change, immigration, and sexual assault, and how activists work with comedy to reach and empower publics in the networked, participatory digital media age.