Dogma 95, the avant-garde filmmaking movement founded by the Danish director Lars von Trier and three of his fellow directors, was launched in 1995 at an elite cinema conference in Paris—when von Trier was called upon to speak about the future of film but instead showered the audience with pamphlets announcing the new movement and its manifesto. A refreshingly original critical commentary on the director and his practice, Playing the Waves is a paramount addition to one of new media’s most provocative genres: games and gaming. Playing the Waves cleverly puns on the title of one of von Trier’s most famous features and argues that Dogma 95, like much of the director’s low-budget realist productions, is a game that takes cinema beyond the traditional confines of film aesthetics and dramatic rules. Simons articulates the ways in which von Trier redefines the practice of filmmaking as a rule-bound activity, and stipulates the forms and structures of games von Trier brings to bear on his films, as well as the sobering lessons he draws from economic and evolutionary game theory. Much like the director’s films, this fascinating volume takes the traditional point of view of film theory and film aesthetics to the next level and demonstrates we have much to learn from the perspective of game studies and game theory.

Playing Culture represents one of the corner stones in the model of the Theatrical Event, as developed by the Working Group of the International Federation for Theatre Research (IFTR). In this volume, thirteen scholars contribute to illuminate the significance and possibilities of playing within the framework of theatrical events. Playing is understood as an essential part of theatrical communication, from acting on stage to events far from theatre buildings. The playfulness characterizing academic traditions sets the tone in the introduction, illustrating the four sections of the book: Theories, Expansions, Politics and Conventions. The theoretical chapters depart from the classical Homo Ludens and offer a number of new perspectives on what play and playing implies in today’s mediatized culture. The contributions to the second section on extensions, deal with playing in non-theatrical circumstances such as market places, passports and stock holders’ meetings. The third section on the politics of playing focuses on wood-chopping women, saints and youngsters in South African townships – all demonstrating their social and political ambitions and purposes. The last section returns to the stage on which performers intend to represent, respectively, themselves, Bunraku puppets or the audience. Playing appears in many forms and in many places and constitutes a basic principle of theatre and performance. This book touches upon important theoretical implications of playing and offers a wide range of historical and contemporary examples. Playing Culture – Conventions and Extensions of Performance is the third book of the IFTR Working Group on The Theatrical Event. The first volume, entitled Theatrical Events – Borders Dynamics Frames was published in 2004, followed by Festivalising! Theatrical Events, Politics and Culture in 2007. The present volume continues to expand the vision of the Theatrical Event as a theory and model for the study of playing, theatre, performance and mediated events.

This book explains how and why the American armed forces embraced sports as a critical part of training and as entertainment for the men—and, eventually, women—in uniform. The author traces the development of military sports from the Spanish-American War through the end of World War II and shows how they became an integral part of military culture. Wakefield uses the military's sports program to explore issues of power, masculinity, and race as they were expressed and reinforced through athletic competitions and demonstrates how they strengthened hierarchical relationships. She also shows how the armed forces attempted to use sports to further national interests on the diplomatic front and to reduce racial and sexual tension. In addition, Wakefield argues for the interpenetration of the worlds of sports and war, showing how sports metaphors were used to masculinize the military enterprise and maintain morale. Wartime propelled interest in sports, and sports helped to maintain patriotism and gender identity among the troops. The book makes the case that the size and scope of the military's efforts to draw all soldiers and sailors into sports reflect the extent to which competitive athletics in the twentieth century have come to represent a means for advancing not only war but peace.

Popular account ranges from counting to mathematical logic and covers many concepts related to infinity: graphic representation of functions; pairings, other combinations; prime numbers; logarithms, circular functions; more. 216 illustrations.

Video game villains and real-life dictators dominate daily life for eleven-year-old Ali Ali Fadhil has very simple likes and dislikes. It is 1991 in Iraq and all Ali wants to do is read his comics and play football and video games. But President Saddam Hussein has other plans. After he invades neighbouring Kuwait, the U.S. and their allies launch Operation Desert Storm to force him out. Over the next forty-three days, Ali and his family would survive bombings, food shortages and constant fear. Cinematic and timely, this is the story of how war changed one boy’s destiny forever and would one day bring him face to face with Saddam himself at the UN trial.

“Dictionary of Hammond-Organ Stops” is a vintage introductory guide to playing the organ, with a comprehensive translation of pipe-organ stops into Hammond-organ number-arrangements. The “Hammond” organ is an electric organ that was invented by Laurens Hammond and John M., first manufactured in 1935. highly accessible and profusely illustrated, this classic guide will appeal to all with an interest in organ playing, and it will be of especial utility to owners and players of Hammond organs. Contents include: “The Use of this Dictionary”, “The Use of this Dictionary”, “The Harmonic Controllers”, “Number-Arrangements as Oran Stops”, “Basic Number-Arrangements”, “Number-Arrangement Endings”, “Combining Stops”, “The Pre-Set Keys”, “The Tremulant”, “The Chorus Control”, “The Expression Pedal”, “The Pedal Harmonic-Controllers”, etc. Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with a specially-commissioned new introduction on the history of the organ.

This Companion constitutes the most significant and comprehensive reference source to the composer in English. Edited by two of the leading scholars in the field, the collection consists of over 50 contributions from an international array of contributors, including recognized Polish experts. The Companion thus provides a systematic, authoritative and up-to-date compilation of information concerning the composer's life, thought and works.

John Barton is Advisory Director at the Royal Shakespeare Company and has directed some of the greatest Shakespeare productions of our time. His book, Playing Shakespeare, is a transcript of his televised workshops with some of our finest Shakespearean actors: Peggy Ashcroft, Judi Dench, Ian McKellen, Ben Kingsley, Patrick Stewart and David Suchet. This new edition contains a DVD with 80 minutes of video featuring John Barton in conversation with Judi Dench, Ian McKellen, Patrick Stewart and Jane Lapotaire discussing changes in approaches to Shakespeare's text since the book first published. This edition also features a foreword by Michael Boyd. This is a highly readable approach to understanding Shakespeare's text and unlocking the hidden stage directions and actors clues that reside in his verse. As Barton explains, "when an actor becomes aware of them they will find Shakespeare himself starts to direct them."