New Books in Performing Arts

Comedy is so frequently the topic of cultural dialogue, but it is rarely taken seriously as an object of study. Comedy Against Work: Utopian Longing in Dystopian Times (Common Notions, 2022) offers a major contribution to theorizing comedy but also thinking about the particular politics of the genre today. Work is a joke and often the butt of our jokes. Madeline Lane-McKinley argues that in comedy, we find ways to endure and cope with the world of work, but also to question the conditions of capitalist life. When work is slowly killing us and destroying the planet and, at the same time, something impossible to imagine life without, Lane-McKinley considers the possibility of comedy as a revolutionary practice. By appealing to laughter we can counteract many of our shared miseries under capitalism, including our relationship to work. 

But to think through these revolutionary aspects of comedy, as a practice, also involves troubling comedy's relationship to the global right turn of the last decade. Stand-up comedy's claims to the artistic freedom of hate speech in comedy represent a fascistic current of our world today, blurring the boundaries between left and "alt" right. Against this current, Comedy Against Work draws from a tradition of feminist critical utopianism, Marxist-feminism, and contemporary cultural criticism to reflect on an anti-fascist poetics of comedy, grounded in a critique of work.

In this conversation with host Annie Berke, Dr. Lane-McKinley discusses the origins of her project, her decision to include her own story and life in her academic analysis, and the comedic virtuosity of the feminist killjoy.

Madeline Lane-McKinley is a writer, professor, and Marxist-feminist with a PhD in Literature from the University of California, Santa Cruz. She is a founding member of Blind Field: A Journal of Cultural Inquiry. Her writing has appeared in publications such as Los Angeles Review of Books, Boston Review, The New Inquiry, Entropy, GUTS, and Cultural Politics. She is also the author of the chapbook Dear Z and a contributor to The Museum of Capitalism.

Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, The A.V. Club, and The Washington Post. She earned her PhD in Film/Media and America Studies from Yale University.

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In a pathbreaking new book, today’s guest, Jennifer Eun-Jung Row, asks how delay and haste in early modern French theater subverts the temporality of heteronormative politics and sexuality. Professor Row is the author of Queer Velocities: Time, Sex, and Biopower on the Early Modern Stage, published by Northwestern University Press in 2022. A Professor of French at the University of Minnesota, Professor Row serves as the co-chair of the Arts and Design and Humanities Imagine for the project "Dreaming up the Change Disability Makes" and leads the CLA Interdisciplinary Collaborative Workshop on “Refusing Disposability: Racial and Disability Justice Toward Another World.” Professor Row’s scholarship has been supported by the National Endowment of the Humanities and a Solmsen Postdoctoral Fellowship from the University of Wisconsin-Madison.

John Yargo is Visiting Assistant Professor of English at Boston College. He holds a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies.

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In popular thought, Christianity is often figured as being opposed to dance. Conventional scholarship traces this controversy back to the Middle Ages. Historical sources, however, suggest that medieval dance was a complex and ambivalent phenomenon. During the High and Late Middle Ages, Western theologians, liturgists, and mystics not only tolerated dance; they transformed it into a dynamic component of religious thought and practice. In Ringleaders of Redemption: How Medieval Dance Became Sacred (Oxford UP, 2021), Kathryn Dickason reveals a long tradition of sacred dance in Christianity, one that the professionalization and secularization of Renaissance dance obscured, and one that the Reformation silenced and suppressed.

Your host, Ryan Shelton (@_ryanshelton) is a social historian of British and American Protestantism and a PhD researcher at Queen’s University Belfast.

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A sweeping and heartbreaking Hollywood biography about the passionate, turbulent marriage of Laurence Olivier and Vivien Leigh.

In 1934, a friend brought fledgling actress Vivien Leigh to see Theatre Royal, where she would first lay eyes on Laurence Olivier in his brilliant performance as Anthony Cavendish. That night, she confided to a friend, he was the man she was going to marry. There was just one problem: She was already married—and so was he.

Truly, Madly: Vivien Leigh, Laurence Olivier, and the Romance of the Century (Grand Central, 2022) is the biography of a marriage, a love affair that still captivates millions, even decades after both actors' deaths. Vivien and Larry were two of the first truly global celebrities - their fame fueled by the explosive growth of tabloids and television, which helped and hurt them in equal measure. They seemed to have it all, and yet, in their own minds, they were doomed, blighted by her long-undiagnosed mental illness, which transformed their relationship from the stuff of dreams into a living nightmare.

Through new research, including exclusive access to previously unpublished correspondence and interviews with their friends and family, author Stephen Galloway takes listeners on a bewitching journey. He brilliantly studies their tempestuous liaison, one that took place against the backdrop of two world wars, the Golden Age of Hollywood, and the upheavals of the 1960s –as they struggled with love, loss, and the ultimate agony of their parting.

Stephen Galloway is the dean of Chapman University’s Dodge College of Film and Media Arts. Prior to joining in 2020, he was for many years the executive editor of the Hollywood Reporter.

Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm.

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The director and cowriter of some of the world's most iconic films―including Double Indemnity, Sunset Blvd., Some Like It Hot, and The Apartment―Billy Wilder earned acclaim as American cinema's greatest social satirist. Though an influential fixture in Hollywood, Wilder always saw himself as an outsider. His worldview was shaped by his background in the Austro-Hungarian Empire and work as a journalist in Berlin during Hitler's rise to power, and his perspective as a Jewish refugee from Nazism lent his films a sense of the peril that could engulf any society.

In this critical study, Joseph McBride offers new ways to understand Wilder's work, stretching from his days as a reporter and screenwriter in Europe to his distinguished as well as forgotten films as a Hollywood writer and his celebrated work as a writer-director. In contrast to the widespread view of Wilder as a hardened cynic, McBride reveals him to be a disappointed romantic. Wilder's experiences as an exile led him to mask his sensitivity beneath a veneer of wisecracking that made him a celebrated caustic wit. Amid the satirical barbs and exposure of social hypocrisies, Wilder’s films are marked by intense compassion and a profound understanding of the human condition.

Mixing biographical insight with in-depth analysis of films from throughout Wilder's career as a screenwriter and director of comedy and drama, and drawing on McBride's interviews with the director and his collaborators, this book casts new light on the full range of Wilder's rich, complex, and distinctive vision.

Joseph McBride is a film historian and professor in the School of Cinema at San Francisco State University. His many books include the critical study How Did Lubitsch Do It? (Columbia, 2018) as well as acclaimed biographies of Frank Capra, John Ford, and Steven Spielberg and three books on Orson Welles.

Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter.

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In his latest book, Lawrence Tierney: Hollywood's Real-Life Tough Guy (The University of Kentucky Press, 2022) Burt Kearns explores the life of actor Lawrence Tierney (1919-2002) whose natural swagger and gruff disposition made him the perfect fit for the Hollywood "tough guy" archetype. Known for his erratic and oftentimes violent nature, Tierney drew upon his bellicose reputation throughout his career--a reputation that made him one of the most feared and mythologized characters in the industry. Born in Brooklyn to Irish American parents, Tierney worked in theatre in New York before moving to Hollywood in 1943 where he signed with RKO Radio Pictures. His biggest roles would come in Dillinger (1945), in which he played 1930s gangster and bank robber John Dillinger, and Robert Wise's film noir classic Born to Kill (1947). Despite his natural talents Tierney was trouble from the start, struggling with alcoholism and mental instability that emboldened him to start fights whenever and wherever he could. The continued bouts of alcohol-fueled rage, his subsequent stints in jail, and his continued attempts at rehabilitation curtailed his acting career. 

Unable to find work throughout much of the 1960s, he did a stint in Europe before eventually returning to New York where he took odd jobs as a construction worker, bartender, and hansom cab driver. In the mid-1980s Tierney returned to acting. With a somewhat cooler head, he established himself again with recurring roles in shows such as Seinfeld and Star Trek: The Next Generation. He would take on his final projects as a septuagenarian in Reservoir Dogs (1992) and Armageddon (1998), where his on-set behavior would once again draw the ire of his colleagues and studio representatives. He would go down swinging just shy of his 83rd birthday, his tough-guy image solidly intact until the end. Kearns explores Tierney's storied life from his days as Dillinger, to his clash with Quentin Tarantino at the end of film career, and his final public appearances. The first official biography of the late personality, the book draws on the writings of Hollywood reporters and gossip columnists who first reported on Tierney's antics, and exclusive interviews with surviving colleagues, friends, family members--and victims. Through their words and his research, Kearns paints a portrait of Tierney's brutish behavior and the industry's reaction to the pugnacious star, drawing parallels--and the line--between the man and the characters that made him a Hollywood legend. 

Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music.

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From Beyoncé's South Asian music-inspired Super Bowl Halftime performance, to jazz artists like John and Alice Coltrane's use of Indian song structures and spirituality in their work, to Jay-Z and Missy Elliott's high-profile collaborations with diasporic South Asian artists such as the Panjabi MC and MIA, African American musicians have frequently engaged South Asian cultural productions in the development of Black music culture. Sounds from the Other Side: Afro-South Asian Collaborations in Black Popular Music (U Minnesota Press, 2020) traces such engagements through an interdisciplinary analysis of the political implications of African American musicians' South Asian influence since the 1960s. 

Elliott H. Powell asks, what happens when we consider Black musicians' South Asian sonic explorations as distinct from those of their white counterparts? He looks to Black musical genres of jazz, funk, and hip hop and examines the work of Miles Davis, John Coltrane, Rick James, OutKast, Timbaland, Beyoncé, and others, showing how Afro-South Asian music in the United States is a dynamic, complex, and contradictory cultural site where comparative racialization, transformative gender and queer politics, and coalition politics intertwine. Powell situates this cultural history within larger global and domestic sociohistorical junctures that link African American and South Asian diasporic communities in the United States. The long historical arc of Afro-South Asian music in Sounds from the Other Side interprets such music-making activities as highly political endeavors, offering an essential conversation about cross-cultural musical exchanges between racially marginalized musicians.

Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts.

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Francis Ford Coppola's "The Godfather, Part II" (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be.

In his book The Godfather, Part II (Bloomsbury, 2022), Jon Lewis provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate.

Jon Lewis is the University Distinguished Professor of Film Studies at Oregon State University and the former editor of Cinema Journal. His books include Road to Nowhere: Hollywood Encounters the Counterculture, Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles, The Road to Romance and Ruin: Teen Films and Youth Culture, Whom God Wishes to Destroy … Francis Coppola and the New Hollywood, Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry, and for the BFI’s Film Classics series, The Godfather.

Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm.

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Joe Strummer was one of the twentieth century's iconic rock'n'roll rebels. As frontperson, spokesperson and chief lyricist for The Clash, he played a major role in politicising a generation through some of the most powerful protest songs of the era, songs like 'White Riot', 'English Civil War' and 'London Calling'. At the heart of this protest was the struggle for social justice and equality.

The Punk Rock Politics of Joe Strummer: Radicalism, Resistance and Rebellion (Manchester UP, 2022) examines Strummer's beliefs on a range of issues - including socialism, alienation, exploitation, multiculturalism and humanism - analysing their credibility, influence and impact, and asking where they came from and how they developed over time. Drawing on Strummer's lyrics, various interviews and bootleg recordings, as well as interviews with those he inspired, The punk rock politics of Joe Strummer takes the reader on a journey through the political influences and motivations that defined one of the UK's greatest punk icons.

Gregor Gall is a Visiting Professor of Industrial Relations at the University of Glasgow. He is editor of the Scottish Left Review magazine, director of the Jimmy Reid Foundation and a regular contributor to various newspapers and magazines. Gregor Gall on Twitter.

Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter.

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In U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat, 2021) Bradley Morgan examines U2's iconic album and their critique of America as a symbol of hope. Through analysis of each track on The Joshua Tree, Morgan examines the 1987 release, the subsequent 2017 30th anniversary tour, and his own connection with the band and his Irish heritage. 

U2 planted the seeds for The Joshua Tree during an existential journey through America. As Irishmen in the 1970s, the band grew up with the belief that America was a place of freedom and prosperity, a symbol of hope and a refuge for all people. However, global politics of the 1980s undermined that impression and fostered hypocritical policies that manipulated Americans and devastated people around the world.

Originally conceived as "The Two Americas," The Joshua Tree was U2's critique of America. Rather than living up to the ideal that the country was "an idea that belongs to people who need it most," the band found that America sacrificed equality and justice for populism and fascism. This book explores the political, social, and cultural themes rooted in The Joshua Tree when it was originally released in 1987 and how those themes resonated as a response to the election of Donald Trump when U2 toured for the album's 30th anniversary.

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