Although there are encyclopedias and biographical dictionaries of contemporary British film and theatre actors; most lack the intimacy of face-to-face interviews. Typically drawn from secondary sources; collections of interviews often repeat tired anecdotes about an actorrsquo;s film or stage roles; with very little nuance or fresh insights. Great Britons of Stage and Screen: In Conversation features interviews with some of the leading actors of the last fifty years and more. In this collection; Barbara Roisman Cooper presents interviews she personally conducted with more than twenty stars of film; television; and theatre. Held in intimate surroundingsmdash;including the actorsrsquo; private homes and theatre dressing rooms between performancesmdash;these interviews provide readers with a rounded understanding of the creative process and the dedication required to develop a performance. Including many well-known Oscar; Tony; Olivier; and BAFTA winners; each interview is preceded by a short introduction and followed by the performerrsquo;s most significant credits; both on the stage and screen. The actors and actresses who shared their stories in this volume includeDame Eileen AtkinsIsla BlairSimon CallowDame Joan CollinsPeggy CumminsSineacute;ad CusackSamantha EggarStephen FryJulian GloverStephen GreifJeremy IronsSir Derek JacobiFelicity KendalSir Ben KingsleyDame Angela LansburySir John MillsAlfred MolinaLynn RedgraveJean SimmonsDavid SuchetRichard ToddMichael YorkDesigned to serve as a resource for those studying or writing about the worlds of theatre and film in generalmdash;and the art and craft of acting; specificallymdash;Great Britons of Stage and Screen will also appeal to the many fans of the artists who have entertained audiences for decades.
#3628118 in eBooks 2011-09-15 2011-09-15File Name: B014T0XW56
Review
4 of 5 people found the following review helpful. Disney. rap music and more: tracing 9/11s impact on our shared cultureBy Lora Templeton[November 2014 note: Below is a review of this book I wrote in 2010 and posted on the Living Social bookshelf via a Facebook app. Living Social pulled the plug on their review site and many of my book and album reviews vanished with it. Transferring files from an old computer. I discovered that I had saved a draft version of this one review . Also. for complete honesty. I am still employed in the Professional Development division of the company that published this book. It was on the receptionistrsquo;s shelf in our Boston office and she kindly gave me the copy.]"Why do they hate us?" was a question constantly asked in the days following Sept 11. 2001. This book does not attempt any answer. but instead explores the cultural constructions and deconstructions at work by the various constituencies as we defined who safely belonged within the boundaries of "us" and who did not. As author Jeffrey Melnick. Associate Professor of American Studies at Babson College. demonstrates. the question itself was fluid. In addition to a general American public asking for a reason behind the horrific attacks of the day; Melnickrsquo;s analysis of our cultural response argues that the outlawed lesbian protagonists in V for Vendetta as they flee from a neo-fascist regime in Britain were asking the same question from another perspective. Or closer to home. that it was already being asked for many years by the Brooklyn rappers and their neighborhoods who noted that their more common perceptions of the World Trade Center and the New York Police Department was how the one often worked very hard at keeping them out of the other.The slim volume of analysis and overview that Melnick has assembled offers a selective study of television. film. music. literature and fine arts as well as the more folk-cultural modes of urban legend. blog post essays and rumor. (It is a Wiley-Blackwell title. and by way of disclosure I am employed by Wileyrsquo;s other division in Professional and Trade.) It is drawn from the syllabus and ongoing coursework of Melnickrsquo;s class on 9/11 in American culture. launched in Winter 2004. Intended to help other cultural studies professors frame studies of their own. it still accessible to the thoughtful reader interested in understanding the many ways 9/11 culture continues to be a part of our lives and how it has developed symbol sets still at play in our media.Some of Melnickrsquo;s choices for analysis are recognizably important: Springsteenrsquo;s Rising; the clip-art comic strip Get Your War On; Don DeLillorsquo;s novel The Falling Man among others and he is not shy to highlight their shortcomings as major works. Other choices were unexpected. I did not reckon. for instance. that Disneyrsquo;s Chicken Little. could be read as a 9/11 text. Some of his assertions of cultural tropes surprised me. such as the statement that gently drifting office paper slowly descending emerged as a visual metaphor for the destruction. by alluding to but not showing the enormity of the other things also falling from the Towers. I would argue that his masterful chapter on how the Hollywood-organized Telethon of September 21 nearly predated the Bush Administration in its war-cry rhetoric could be matched by an equally skilled analysis of the broadcast of the Macyrsquo;s Thanksgiving Day parade and its attendant commercials a month and a half later. (And although it is clear Melnick has opinions on our world ndash; who doesnrsquo;t? ndash; I was surprised to find that his writing convinced me to not hold the ldquo;Go Shoppingrdquo; argument against the Bush administration any longer. In retrospect. it was important to maintain a sense of confidence and community and consumer involvement is as good of way as another. There are far more important criticisms to make of the Bush years.)But it is the folk and urban cultural response ndash; all of that not mediated by corporate purposes or in the case of the famed Clear Channel banned song list that which was a dialogue between the people and the company; each wresting for control of the outcome ndash; that Melnickrsquo;s book truly excels at recording. Many forgotten moments of those first few months came back (I remember a colleague showing me the extremely disturbing Microsoft Word/Wingding trick. for instance. and I heard the ldquo;employees who stayed home with foreknowledgerdquo; rumor in a San Francisco context.) and Melnick provides quick strokes of cultural history to link these with other times of national crises. I would only quibble at a few of his statements. Progressive political website Moveon.org predates 9/11 and the name is a request to Congress to censure the President and ldquo;move onrdquo; not a post 9/11 exhortation as he suggests. The term Web 2.0 which Melnick asserts is ldquo;inextricably linkedrdquo; with 9/11. appeared first in 2004. but I take his point that discussion boards. blogs and forums were available for grief. missing person searching. anger. discussion and memorial. I also note that the culture of a lsquo;portraitrsquo; or the snapshot icon of a person. especially as it formed a community on a wall as in the many ad hoc memorials. does seem to be echoed now in all of our online avatars and our the Facebook wall of friends. The only element missing from this perspective of Melnickrsquo;s analysis might be included in a subsequent volume that studies the iconography of the street shrines and the proliferation of grief-industry and patriotic kitsch that sprung up around Ground Zero.Melnick concludes with an appendix providing lists of movies. songs and key works as well as a Note to Teachers. He does suggest that the work here is far from finished and ndash; indeed history has made a few twists and turns since publication ndash; but he also suggests that we need to replace the narcissistically-focused ldquo;Why do they hate us?rdquo; with the more challenging but ultimately significant question of ldquo;Why do we hate?rdquo;0 of 10 people found the following review helpful. :DBy C. CuthbertAnother required book for college. What more to say than you like some books and you dont like other books...its just the way it is.
