Medievalizing epicism - defined as a style or sensibility that evokes the medieval and the epic—has been a hallmark of metal music since its inception. In this regard, metal is not unique among forms of Western pop culture; its fascination with the medieval owes much to the influence of fantasy literature, cinema, and later, video games. Yet medievalizing epicism also plays a key role in shaping (ethno)nationalist ideologies, fascist narratives, and alt-right discourse, as well as official efforts to foster patriotic sentiment. As such, it is often entangled with sexism, racism, nationalism, and exclusivity - elements that frequently echo in metal’s lyrics, imagery, and album art.



This book examines how metal engages with these tensions through the specific lens of medieval Hispanic epic themes. It explores whether and how metal bands deal with the problematic associations that medievalizing epicism can carry, and what this means for the broader metal scene. By exploring these intersections, Amaranta Saguar García invites readers to reflect on the cultural and political dimensions of metal’s medieval epic imagination.

This Open Access publication is funded by the research project PoeMAS: POEsía para MÁS gente. La poesía en la música popular española contemporánea (PGC2018-099641-A-I00, Ministerio de Ciencia Innovación y Universidades de España).

Why can post-catastrophe films tell us about our current real-world circumstances?

This book proposes that a new sub-genre of film called ‘post-catastrophe’ is emerging that displays narratives

directly analogous to our current predicament of runaway climate disruption. Post-catastrophe film sits in the

space between blockbuster disaster movies that use scenes of destruction to blow the world up and disrupt the flow of humanity and post-apocalyptic films where a version of society has formed in the ashes of the disaster.

In these narratives, the characters are thrown into a world of unsettling circumstances in which they have to adapt and strive for survival and reimagine the world as it changes around them. We face a similar predicament."

The Handbook of Nordic Cinema is a comprehensive reference work providing an overview of cinema in the Nordic countries - Sweden, Denmark, Norway, Finland and Iceland. Comparing the cinematic cultures of the five Nordic nations as well as Sápmi, it gives the readers a more comparative and general perspective of Nordic Cinema. Even though the Nordic countries are very different, and have very different cinematic traditions and media histories, they have many institutional and thematic elements in common. One example is how film production in all five countries, and in Sápmi too, is dependent on different forms of government support systems.

The main focus is on feature films but the book also presents chapters and central discussions on documentaries and animation as well as connecting film production in the Nordic countries to the emerging media situation with television and streaming services as central partners and competitors.

The inclusion of a number of smaller case studies and thematic explorations enables the Handbook of Nordic Cinema to broaden the understanding of individual genres including occupation dramas, comedies, animation and documentary. There is also thorough exploration of attitudes towards cultural motifs and elements - the roles of nature, crime, disaster and piracy.

Lines of Inquiry: Multi-disciplinary Methodologies in Drawing and Education is a collection of essays written by researchers, scholars, and artists from nine countries around the world.



The multi-disciplinary contributors include teachers, artists, architects, psychotherapists, museum educators and curators who bring their distinct positions and experiences of using drawing in collaboration with others, in classrooms, in the community, in private practice, and as researchers interpreting and analyzing the experiences of others.The collection is organized in a way that takes the reader through a journey of what drawing is and can be; whether that is through a mapping of one’s daily route, a marking of territory, an expression of an experience, a problem-solving equation of arrows and lines, a comic, or a concept of imagined lines that demarcate power. Some contributions speak to the embodiment that drawing allows, some to learning and knowledge construction, and some to an age-old way of communicating.



The international roster of contributors provides suggestions for developing new ways of knowing, for developing empathy toward things that may lie outside our own experiences, and for seeing alternative perspectives through drawing.

Performing Punctuation gathers writers/performers to highlight, question and contest colonising facets of English language punctuation, while looking for ways to reveal and rarefy these proprietary rules such that they are responsive, playful, generous, generative, and ultimately more inclusive.



A transdisciplinary collaborative book that brings awareness to the limiting effects of the prevailing dominance of English language and its vociferous use of punctuation. The book's content and design is guided by this question: How can English language punctuation discard its domineering and strident overcoat to enable a greater diversity of readers, listeners, performers, writers, and practices?



Performing Punctuation, bears out digressions, indiscretions, transgressions and fabulations of grammatical marks unfaithful to propriety. It makes public an on-going and refreshed movement to play humorously and tenaciously with those small but powerful writing marks that regulate, discipline and structure textual language and spoken discourse. These marks, symbols and rule-makers are anything but a mere neutral grammatical systems; they are language gremlins and pixies; inflecting and infecting agents with histories, voices and messages of their own accord. These marks are understood as part and parcel to the on-going colonising history of the English language.



The collection brings together of a range of voices – Māori and Pākehā – and the collaborative editorial relationship with contributors allows conversation to develop between the elements of the book.

An exploration of what performance can do to expand conventional representations of becoming a mother. Maternal bodies and processes of pregnancy, childbirth and sustenance have historically been depicted in art and literature as variously uncanny, abject, grotesque, monstrous, and hybrid.



Societal conventions and myths around what makes a good or bad mother have limited the representations of maternal ambivalence and labour. Lived experiences of matrescence as depicted by mothers themselves have remained almost invisible with little exposure in galleries or mainstream art and media. Challenging complex and disparaging representations, or the erasure and invisibility of experiences of matrescence altogether, contemporary mother/artists working in the field of performance use their live bodies to subvert dominant images of conventional myths of motherhood.



Using strategies of mimesis, liveness, embodiment, relationality, and performativity to render their own matrescent bodies, these artists explore historically pejorative theoretical concepts and aesthetics in new, feminist ways. This book frames performance as a site where becoming a mother can be understood as both a becoming and an unbecoming to expand understandings of matrescence.

Unmade, unseen, and unreleased film and television are an overlooked phenomenon in film and media history, despite a substantial amount of the financial and labour resource of these industries being invested in projects that are never produced or distributed.

This edited collection investigates the key themes, debates, methods, and theories adopted in the study of unmade, unseen, and unreleased film and television. Each of the contributors provides a state-of-the-art overview of their particular topic, setting out the key arguments, and reflecting on relevant case studies. Setting out what is at stake in the study of unmade, unseen, and unreleased film and television, it serves as a foundational text for students and those new to this field of enquiry, as well as a key reference text for established researchers.

The collection is centred on major aspects of defining the unmade, unseen, and unreleased, exploring methods and approaches adopted by scholars working in the field and providing critical surveys of existing output. The collection surveys the scale of unmade projects and examines innovative research methods by bringing together case studies on film and television industries from across history and across the globe.

The study of men’s fashion has evolved from an emerging subject to a dynamic and growing field, intersecting with critical conversations on gender, race, sexuality, disability, colonialism, and globalization.



The Handbook of Men’s Fashion pushes beyond conventional narratives by centering three guiding approaches: decentralizing and decolonizing men’s fashion studies, global viewpoints, and intersectionality. With 34 chapters from fashion and dress scholars, the collection offers a uniquely progressive perspective on the field’s development.



Divided into six sections—Theoretical Perspectives, People and Bodies, Places, Objects and Products, Promotions and Business, and Popular Culture—the book examines how masculinity is fashioned, contested, and expressed across time and space. Topics range from national dress and subcultural style to queer and disabled masculinities, luxury branding, and digital fashion communities. By centering histories and communities that have been marginalized in previous scholarship, the chapters collectively expand the boundaries of men’s fashion studies.



Rather than providing a definitive account, The Handbook of Men’s Fashion serves as an invitation to rethink the field, interrogate absences, and imagine new possibilities. It is an essential resource for scholars, students, and industry professionals invested in the past, present, and future of men’s fashion.

The main audience for this book is academic, but it will also appeal to fashion practitioners, curators, and cultural critics, and to general readers interested in the history, culture, and meaning of men’s fashion and dress.

Over the past decade, Tiny Housing has become something of a viral sensation in the US. From Instagrammable enclaves for young professionals to vast municipality-supported schemes seeking to address homelessness, tiny house sites are proliferating across the country.



This book takes a look at life inside the ‘Tiny House Nation’, shining an intimate light on a phenomenon widely celebrated in the mainstream media. The book presents textured narrative accounts from and striking images of Tiny Home residents, their homes and communities, while analysing the broader socio-economic structures shaping their lives. In so doing, it paints a compelling and complex picture of a trend at the crossroads of several key social, cultural and economic shifts, at a pivotal moment for America’s housing future.

Fundamentally, this is a book about paradoxes. The paradox of tiny housing offering freedom from the constraints of capitalism, whilst at the same time remaining embedded within capitalist systems. The paradox of those who ‘go tiny’ both choosing an alternative lifestyle, and those who are pushed into tiny housing as a consequence of limited choice. The paradox of Austin, Texas, as both a countercultural enclave and hyper-capitalist tech haven. And the paradox of tiny house ethoses in Austin, as both centring community and shared assets, and individualist libertarianism. These paradoxes do not necessarily sit in opposition to one another, but are all bound up in the complexity of what tiny housing has to offer as an alternative way of living.

Despite its unattainability for all but the most privileged, the American Dream - the home-owning society, the suburban bliss, the white picket fence - remains emblematic of the residential Good Life. But in the decades since the turn of the millennium the dream has been shrunk down, expectations of a decent home literally reduced. Whilst for some this has led to forms of freedom and fulfilment, it has also contributed to the normalisation of cities so outrageously expensive that all people can afford are miniature homes on the urban periphery. As this book shows, both impacts of tiny housing are equally true, and one does not cancel out the other. Tiny housing embodies an important societal crossroads. In some respects, it offers an alternative to the prevailing housing status quo. In others, it demonstrates what options have already been taken away from us.

from the Introduction



‘In the rest of this book, we’ll lead you through our exploration of tiny housing in Texas. We’ll start, in the next chapter, by introducing some of the places and people we encountered on our travels to set the scene. Then, the ‘pathways’ chapter examines the various conditions and journeys through which people end up living tiny. As you’ll see, our attempt to produce a diagram of pathways to tiny living escalated into the production of a fully blown board game. We describe this diagrammatic board game to show the complex and nuanced personal and structural circumstances that lead people into tiny housing. From there, we go into three empirical chapters, focusing on economies of tiny living, the materiality of tiny housing as domestic spaces, and community culture. We then draw the book to a close, and speculate about what tiny housing means for the future of domestic life, especially in relation to the American Dream.



‘Throughout the book our descriptions are accompanied by photographs taken by Cian Oba-Smith, who accompanied us on our first trip to Texas in 2022. The hype around tiny housing is undoubtedly driven, in large part, by the aesthetic cultures surrounding it. Tiny homes are the picturesque, boutique, upmarket cousin of mobile homes and trailers. They are distinguished from these other types of small housing, as we’ll argue in this book, specifically by their aesthetics. Anyone who ventures into the world of tiny housing for more than five minutes will see how thick this aesthetic culture is. From beautifully curated Instagram pages, to countless coffee table books, to Etsy shops dedicated to crafted tiny house merchandise, a key part of living tiny is enjoying and embracing its aesthetics. By working with Cian we were able to focus (literally) on these aesthetic dimensions of tiny housing. However, we were also able to capture some of what’s not presented in promotional tiny house materials; the constraints, the challenges and the complexities that come along with the joy and the freedom. We’re positioning this book as something of a disrupted coffee table book. On an initial flick through it might not look too different to the photography books that valorise tiny living, but you’ll already know, if you’ve read this far, that our approach is more nuanced. Our attempt has been to expose the ‘real’ Tiny House Nation. Not to attack it, not to deny its beneficial impacts for a huge number of people, but to inject some nuance into the debate so that we can take forward the positives of tiny living without normalising the negatives.’

The book explore how dance practices can be embodied through relationships with the environment. The book begins with discussing somatic experiences of being in Place; including discussing a sense of belonging to the environment through responsive movement. The second part offers infrastructures (scores) for generative movement drawn from transdisciplinary workshops. The book presents text, poetic prose, and image.



Dancing Place: Scores of the City, Scores of the Shore reveals the collaborative choreographic making process as a way of being in the world. In the book the authors story their experiences of working with scores as ways of noticing, sensing and bringing focus to moments within the assemblage of environments of which we are a part.

The Intellect Handbook of Adult Film and Media collects 36 chapters in six broad sections related to the study of adult film and media: History; Methodologies and Pedagogies; Representations; Production, Spectatorship, and Distribution; Area Studies and Transnationalism; and Law, Health, Policy, and the State. These chapters offer a survey of the discipline, with overviews of the primary literature, important histories, and essential arguments. The Handbook is designed as a reference work and resource for emerging scholars and educators teaching undergraduate courses on film, media, gender, sexuality, or porn studies.



This handbook fills an important gap within cinema and media studies by examining sexually explicit media content and the context for its circulation, production, consumption, and broader reception. Through these essays and the extensive body of literature they engage with, it aims to support the continued growth of adult film and media studies.

DJing in New York depicts the initial learning processes of a group of underground Electronic Dance Music club DJs in New York and follows them throughout a portion of their career to gain insights as to what and how these popular musicians learn, develop careers, and thrive.  



What unfolds is a story of a social process of musical learning in which DJs develop strong networks of friendship to initially learn their craft and later on to navigate the perils of nightlife and build careers. This type of situated learning is dependent upon friendships and is intrinsically linked to the dynamic context of an underground clubbing scene in New York. Enculturation in this nightlife scene, access to professional performers, and strong friendships distinguish these musical learners among popular musicians.



Because these features add a new dimension of understanding to the learning practices of popular musicians, this book is of primary interest to music educators, particularly those interested in popular music education and community music. It is also relevant to individuals interested in popular music studies, especially scholars of electronic dance music culture.

Between 1989 and 2020 Jonathan Petherbridge worked as the Artistic Director of a community-based theatre company - London Bubble. This longer than average tenure allowed him time to forge a close working relationship with the community and develop new ways to involve people of all ages in theatre-making.



Out of a slew of projects emerged a particular methodology to make work that was researched, curated and performed by citizens between the ages of 8 and 80. The process that emerged was called Foraging – a methodology carefully divided into five phases, which attempts to bring the best out of both voluntary and specialist artists – making time and space for them to create theatre that has a striking beauty and an ingrained aesthetic of care. Vernacular Theatre describes the result – the aesthetic.



The case studies - based on work with citizens of London and Hiroshima - examine how this theatre has valued key moments of communal history, contemporary issues and everyday institutions. The book suggests reasons and techniques for others to make similar work. Concluding with a reflection on the pre-classical Chorus of Greek Theatre where original work was produced to celebrate events with and for the community, this book proposes a new genre – a social and intergenerational art form that invites people to gather and share their life experience, concerns and creativity.

This book expands on theories of "theatricality" in French and critical studies, adopting a transdisciplinary approach that reaches beyond performance studies into poetry, media technology, translation, and psychoanalytic theory.



Building on Artaud’s concept of theatre as a "plague"—an unpredictable, cataclysmic, and contagious force that disrupts power structures and knowledge—the book challenges Aristotelian norms of theatre as a medium of "healing" and "teaching." Instead, theatricality emerges as a force of radical disruption, what Artaud called "the return of the repressed," demanding openness to otherness.



The chapters present theatricality as primarily aural rather than visual, inciting "paranoiac listening," invoking unretrievable "primal scenes," and allowing unconscious "psychic" contamination. "Theatricality" is explored through works by Artaud, Genet, Novarina, and Koltès, but also Freud, Barthes, Kristeva, Girard, and Derrida. Each writer challenges the premises of their own artistic genres and fields of study, questioning binary systems like artistic production versus theoretical articulation, the technological versus the natural, and art versus life.



As shown, these binaries underpin mechanisms of repression, sacrificial violence, and the exclusion of the voiceless other. The book assigns a generative function to traditionally maligned notions like unintelligibility, madness, marginality, contagion, and criminality.

If Colors Could Be Heard: Narratives About Racial Identity in Music Education is a platform of, by, and for People of Color who are music educators, artists, activists, and students. For this book, we asked authors to consider their race and ethnicity as an intimate and essential part of their music learning, making, and teaching.



The narratives in this collection include tales of being a music student, stories of growing up and finding one’s place in musical worlds, and accounts of teaching students about race, ethnicity, culture, and identity. The chapters in this book are not research studies unless explicitly stated by the author.



Instead, the chapters in tandem represent a stunning mosaic with shades of melanated skin that will serve as a scholarly picture that represents a portion of music education in the United States. Here, you will find self-told stories by people from the Global Majority—a term used to describe Black, African, Asian, Brown, Latin, Dual-heritage, and Indigenous people.

Photo Obscura: The Photographic in Post-Photography discusses the profound transformation of post-photography. It argues post-photography is not merely a trend but a significant movement that redefines photography by integrating it with emerging technologies and creative practices, resulting in works that may not even resemble photographs but still retain a photographic influence.



It is structured around various themes, including AI-generated images, the intersection of digital and physical art forms, and the changing relationship between visual representation and perception. Drawing on photo history, media studies, visual studies, art history, and the digital humanities and through discussions of specific artworks and artists, it provides insights into how post-photography continues to evolve, offering new ways to understand, define, and engage with the photographic image in the digital age. It highlights the influence of digital culture, where the abundance of images and information has led to novel approaches in art that question the very nature of photography, truth, and reality. Still, it maintains that despite this radical shift, photography's influence remains central, even when hidden or abstracted in the final work.

This book expands on theories of "theatricality" in French and critical studies, adopting a transdisciplinary approach that reaches beyond performance studies into poetry, media technology, translation, and psychoanalytic theory.



Building on Artaud’s concept of theatre as a "plague"—an unpredictable, cataclysmic, and contagious force that disrupts power structures and knowledge—the book challenges Aristotelian norms of theatre as a medium of "healing" and "teaching." Instead, theatricality emerges as a force of radical disruption, what Artaud called "the return of the repressed," demanding openness to otherness.



The chapters present theatricality as primarily aural rather than visual, inciting "paranoiac listening," invoking unretrievable "primal scenes," and allowing unconscious "psychic" contamination. "Theatricality" is explored through works by Artaud, Genet, Novarina, and Koltès, but also Freud, Barthes, Kristeva, Girard, and Derrida. Each writer challenges the premises of their own artistic genres and fields of study, questioning binary systems like artistic production versus theoretical articulation, the technological versus the natural, and art versus life.



As shown, these binaries underpin mechanisms of repression, sacrificial violence, and the exclusion of the voiceless other. The book assigns a generative function to traditionally maligned notions like unintelligibility, madness, marginality, contagion, and criminality.

This book expands on theories of "theatricality" in French and critical studies, adopting a transdisciplinary approach that reaches beyond performance studies into poetry, media technology, translation, and psychoanalytic theory.



Building on Artaud’s concept of theatre as a "plague"—an unpredictable, cataclysmic, and contagious force that disrupts power structures and knowledge—the book challenges Aristotelian norms of theatre as a medium of "healing" and "teaching." Instead, theatricality emerges as a force of radical disruption, what Artaud called "the return of the repressed," demanding openness to otherness.



The chapters present theatricality as primarily aural rather than visual, inciting "paranoiac listening," invoking unretrievable "primal scenes," and allowing unconscious "psychic" contamination. "Theatricality" is explored through works by Artaud, Genet, Novarina, and Koltès, but also Freud, Barthes, Kristeva, Girard, and Derrida. Each writer challenges the premises of their own artistic genres and fields of study, questioning binary systems like artistic production versus theoretical articulation, the technological versus the natural, and art versus life.



As shown, these binaries underpin mechanisms of repression, sacrificial violence, and the exclusion of the voiceless other. The book assigns a generative function to traditionally maligned notions like unintelligibility, madness, marginality, contagion, and criminality.

The collection explores various methods of screen-writing for essay film, through a diverse set of reflections and analyses of canonical and unconventional approaches of essay filmmaking. It includes contributions from filmmakers and practice-led researchers, who reflect on their production process in the form of production diaries or self-critique, and analyses from scholars who investigate the production contexts of essay film, as well as interviews with filmmakers on how their practices are conceptualised and contextualised. Overall, it takes essay film as an expression of personal camera, collaborative/collective work, and experimental work where the boundaries between different art forms blurs and merges.

Shaping Global Cultures through Screenwriting: Women Who Write Our Worlds is a powerful testament to the undeniable impact of an international collection of female screenwriters. Spanning film, television, virtual reality, games, and digital media, these case studies showcase instances when women have used screenwriting to challenge injustice and give voice to communities across the globe.



Acknowledging global disparities in wealth and power, the book exposes screenwriting as activism, which shifts attitudes and alters lived experiences. Whether about gender and race or war and colonization, or other serious issues, each chapter reveals the deep connections between storytelling and social change.

More than just a study of the craft, this is a celebration of the women writers who use their artistic lens to educate and empower others.

Geared toward readers interested in screenwriting, media studies, sociology, women’s studies, and a wide range of humanities subjects, including history and population studies, this book brings long-overdue attention to the vital role women take in shaping global cultural landscapes.

In a world facing multiple existential crises, music might be seen as little more than a distraction. However, in this synthesis of ideas developed over a decade, a timely re-appraisal of the potential of musicing for human flourishing is presented, emphasising its role in the history of human evolution alongside its potential as a resource for sustainable development. 



A holistic philosophy of music is outlined which recognises the complex web of meaning which spreads across complementary musical dimensions of performance and participation, whilst emphasising the ‘paramusical’ benefits which arise from both. Highlighting the notion that the social bonds which arise from musicing share much of the neurobiological underpinnings of attachment and love, musicing is presented as a resource with the potential for facilitating ethical human connection.



The humanistic values which are thereby materialised during musicing – love, reciprocity and justice – form the experiential grounds for inhabiting alternative social realities. The book addresses how such a holistic philosophy of music might be implemented in practice, drawing on the author’s professional praxis as a performer, educator, community musician, composer and researcher, in particular their experience of musician education at Sage Gateshead, Royal College of Music and Trinity-Laban Conservatoire in the UK.

The annual Beijing Film Academy Yearbook highlights the best academic debates, discussions and research from the previous year, as previously published in the highly prestigious Journal of Beijing Film Academy. This volume brings together specially selected articles, appearing for the first time in English, to bridge the gap in cross-cultural research in cinema and media studies.

The book is the latest in the Intellect China Library series to produce work by Chinese scholars that have not previously been available to English language academia. Covering the subjects of film studies, visual arts, performing arts, media and cultural studies, the series aims to foster intellectual debate and to promote closer cross-cultural intellectual exchanges by introducing important works of Chinese scholarship to readers.

A review of dance education research methodologies with examples and exemplars from the field and an important resource for dance students, professionals, and advocates.



The editors recognized the need for a book of this type – one that would not only provide examples of a variety of dance education research projects, but also present a broad look at methodologies. In addition, the book would not only focus on Dance Education research in the U.S, but more broadly with examples of dance research from several different countries. The curated book includes the voices of both seasoned professionals and newer scholars in the field, with examples of dance research from a number of different countries. The contributions represent several countries including Korea, South Africa, United States of America, Jamaica, India, United Kingdom, Brazil, and Slovenia, underscore the global relevance and significance of research in dance education.

This book is divided into 5 parts. The first part focuses on dance education research and methodologies and is divided into three sections. With an introduction by Jill Green, the chapters that follow provide an overview of research types including the more traditional, qualitative, quantitative and mixed, and other methods such as portraiture and a/r/tography.



Part II, introduced by Lynnette Young Overby, includes examples of dance education research that incorporate qualitative, quantitative, and/or mixed methods. Three sections covering dance education research applications in the areas of history and culture, dance teaching and choreography, and community based research follow.



Part III of the Handbook of Dance Education Research provides insight into dance education that takes place in several countries. This part is introduced by Peter Cook, Associate Deputy Chancellor, Southern Cross University, Australia. The collection of chapters within this part of the Handbook of Dance Education Research provides snapshots of research practices from contrasting international areas, and with a variety of approaches and paradigms.



The final Part IV includes chapters focused on Social Justice dance education practice and research. This part is introduced by Alfdaniel Mivule Basibye Mabingo, Makerere University, Uganda. These chapters push the boundaries of dance education research to promote meaning and social change. They provide substantive examples of the impact dance education research can have in response to social and cultural issues.



This book will be a key resource for university students, professors, practitioners and policy makers in organizations and in school systems. It will inspire future dance education researchers to conduct research that is collaborative, impactful, inclusive and diverse– research that will solidify the place of dance as an integral part of each person’s education.

A collection of performance texts ranging from orthodox plays to group-devised texts. The book traces from most recent to earliest Schechner's work as a "writer" and a "wrighter" -- the author of plays and the conceptualizer and leader of teams of artists. The book includes several never before published early texts as well as updated versions of well-known productions such as "Dionysus in 69," "YokastaS," "Makbeth," and "Imagining O." The earliest texts are from the 1950s the most recent from 2014.

This book brings together for the first time Schechner’s original plays and adaptations: Imagining O, YokastaS, Faust/gastronome, The Prometheus Project, Richard's Lear, Commune, Makbeth, Dionysus in 69, The Blessing of the Fleet, Briseis and the Sergeant, "Lot's Daughters," and "The Last Day of FK." The scripts engage with perennial canonical themes, such as Oedipus and Faust, and topical issues of our times. They embody Schechner’s world-famous environmental theatre approach. Marta Minier's general introduction and Schechner's introductions to each play, set the scripts in their intellectual and production context. The book complements Schechner’s other books which include, Performance Studies: An Introduction (now in its 4th ed.), Performance Theory, Between Theater and Anthropology, The Future of Ritual, and Performed Imaginaries.

The annual Beijing Film Academy Yearbook highlights the best academic debates, discussions and research from the previous year, as previously published in the highly prestigious Journal of Beijing Film Academy. This volume brings together specially selected articles, appearing for the first time in English, to bridge the gap in cross-cultural research in cinema and media studies.

The book is the latest in the Intellect China Library series to produce work by Chinese scholars that has not previously been available to English language academia. Covering the subjects of film studies, visual arts, performing arts, media and cultural studies, the series aims to foster intellectual debate and to promote closer cross-cultural intellectual exchanges by introducing important works of Chinese scholarship to readers.