Wearing a mask—putting on another face—embodies a fundamental human fantasy of inhabiting other bodies and experiencing other lives. In this extensively illustrated book, Thomas Morawetz explores how the creation of transformational makeup for theatre, movies, and television fulfills this fantasy of self-transformation and satisfies the human desire to become "the other." Morawetz begins by discussing the cultural role of fantasies of transformation and what these fantasies reveal about questions of personal identity. He next turns to professional makeup artists and describes their background, training, careers, and especially the techniques they use to create their art. Then, with numerous before-during-and-after photos of transformational makeups from popular and little-known shows and movies, ads, and artist's demos and portfolios, he reveals the art and imagination that go into six kinds of mask-making—representing demons, depicting aliens, inventing disguises, transforming actors into different (older, heavier, disfigured) versions of themselves, and creating historical or mythological characters.

Biblical texts have inspired more than 100 Broadway plays and musicals, ranging from early spectacles like Ben-Hur (1899) to more familiar works such as Godspell and Jesus Christ Superstar. What happens when a culture’s most sacred text enters its most commercial performance venue? Playing God focuses on eleven successful productions, as well as a few notable flops that highlight the difficulties in adapting the Old and New Testaments for the stage. The book is informed by both performance studies and theater history, combining analysis of play scripts with archival research into the actual circumstances of production and reception. Biblical plays, Henry Bial argues, balance religious and commercial considerations through a complex blend of spectacle, authenticity, sincerity, and irony. Though there is no magic formula for a successful adaptation, these four analytical lenses help explain why some biblical plays thrive while others have not.

Faces are all around us and fundamentally shape both everyday experience and our understanding of people. To lose face is to be alienated and experience shame, to be enfaced is to enjoy the fullness of life. In theology as in many other disciplines faces, as both physical phenomena and symbols, have not received the critical, appreciative attention they deserve. This pioneering book explores the nature of face and enfacement, both human and divine. Pattison discusses questions concerning what face is, how important face is in human life and relationships, and how we might understand face, both as a physical phenomenon and as a series of socially-inflected symbols and metaphors about the self and the body. Examining what face means in terms of inclusion and exclusion in contemporary human society and how it is related to shame, Pattison reveals what the experience of people who have difficulties with faces tell us about our society, our understandings of, and our reactions to face. Exploring this ubiquitous yet ignored area of both contemporary human experience and of the Christian theological tradition, Pattison explains how Christian theology understands face, both human and divine, and the insights might it offer to understanding face and enfacement. Does God in any sense have a physically visible face? What is the significance of having an enfaced or faceless God for Christian life and practice? What does the vision of God mean now? If we want to take face and defacing shame seriously, and to get them properly into perspective, we may need to change our theology, thought and practice - changing our ways of thinking about God and about theology.

In the world of film and theatre, character transformation takes a lot of work, skill, and creativity...Dedicated solely to SFX, this book will show you tips and techniques from an seasoned SFX makeup artist with years of film, TV, and theatrical experience. Not only will this book take you through the many genres that need a special effects makeup artist, like horror, fantasy, and sci-fi, but it will also tell you about the tools you will need, how to maintain your toolkit, how to take care of the actor's skin, how to airbrush properly when HD is involved, and all about the exclusive tricks of the trade from an experienced pro who knows all the latest tips and techniques. The author shows you how to sculpt and mold your own makeup prosethetics, focusing on how human anatomy relates to sculpture, thus creating the most realistic effects. Case studies feature some of the top makeup artists of today, such as Neill Gorton, Christopher Tucker, Miles Teves, Jordu Schell, Mark Alfrey, Matthew Mungle, Christien Tinsely, Vittorio Sodano, and Mark Gabarino. You will also learn about human anatomy as it relates to sculpture and will be able to profit from lessons from today's top make-up artists that are highlighted. Put your new techniques into practice right away with the step-by-step tutorials on the must-have DVD, which will show you exactly how some of the looks from the book were achieved.

The popular media of film and television surround us daily with images of evil - images that have often gone critically unexamined. In the belief that people in ever-increasing numbers are turning to the media for their understanding of evil, this lively and provocative collection of essays addresses the changing representation of evil in a broad spectrum of films and television programmes. Written in refreshingly accessible and de-jargonised prose, the essays bring to bear a variety of philosophical and critical perspectives on works ranging from the cinema of famed director Alfred Hitchcock and the preternatural horror films Halloween and Friday the 13th to the understated documentary Human Remains and the television coverage of the immediate post-9/11 period. The Changing Face of Evil in Film and Television is for anyone interested in the moving-image representation of that pervasive yet highly misunderstood thing we call evil.

In this insightful reflection on 'doing nothing', the authors take us on a tour of what is happening when, to all appearances, absolutely nothing is happening. The book leads us to rethink the ordinary and find meaning in today's hypermodern reality.

What does an art history of Instagram look like? Appreciation Post reveals how Instagram shifts long-established ways of interacting with images. Tara Ward argues Instagram is a structure of the visual, which includes not just the process of looking, but what can be seen and by whom. She examines features of Instagram use, including the effect of scrolling through images on a phone, the skill involved in taking an “Instagram-worthy” picture, and the desires created by following influencers, to explain how the constraints imposed by Instagram limit the selves that can be displayed on it. The proliferation of technical knowledge, especially among younger women, revitalizes on Instagram the myth of the masculine genius and a corresponding reinvigoration of a masculine audience for art. Ward prompts scholars of art history, gender studies, and media studies to attend to Instagram as a site of visual expression and social consequence. Through its insightful comparative analysis and acute close reading, Appreciation Post argues for art history’s value in understanding the contemporary world and the visual nature of identity today.