DramaTech’s upcoming production of Five Faces for Evelyn Frost takes place in a social media ecosystem powered by lists, likes, loves, and lies. Behind the bright lights of smartphone screens, identities are constructed and realities are blurred.
Professor Phil Auslander wrote a book in 2006 about Glam rock, a term coined in Great Britain in the 1970s to describe a style of rock and pop music played by artists who wore over-the-top clothes, make-up, hair and, well, more.
One is an academic. The other is an author. Lisa Yaszek (professor) and Kathleen Ann Goonan (award-winning novelist and professor of the practice), both in the Ivan Allen College School of Literature, Media, and Communication, team up to explain science fiction and Star Wars. They discuss the appeal of the series, why the original was such a success and how the franchise defined the roles of men and women.
One of DramaTech’s most cherished traditions is the George P. Burdell Variety Hour. Since 1999, the annual performance has showcased students acting, singing, dancing, and everything in between.
Alumni from the School of Literature, Media, and Communication (LMC) gathered at the Stephen C. Hall Building on November 19 for “Personal Connections in a Digital Age,” an event celebrating the school’s professional representation in Atlanta and across the United States.
A new grant from the Commerce Club Foundation will help Georgia Tech students connect their work in the classroom with the Atlanta community.
Tobias Wilson-Bates, a Marion L. Brittain Postdoctoral Fellow in the School of Literature, Media, and Communication, said we can learn a lot about ourselves by how the arts portray time travel.
More than 118 years after it was written, Dracula still commands our interest. Professor Carol Senf explains why — and why she's eagerly awaiting the monster's resurrection.
Not so long ago, IAC and GT awarded tenure and promotion to Qi Wang, based in part on her (then forthcoming) monograph on Memory, Subjectivity, and Independent Chinese Cinema. Here is the first review of her book, published by Ohio State's Modern Chinese Literature and Culture journal.
A section from the review:
"[Qi Wang's] Memory, Subjectivity, and Independent Chinese Cinema is rich and complex. To be fully appreciated, I suspect its formal analytical focus requires a degree of familiarity with the cinematic works discussed. Furthermore, Wang’s explicit emphasis on questions of subjectivity and style over material context—whether that be production, exhibition, or reception—may frustrate those for whom Zhang Yimou, Meng Jinghui, and Shi Tou are less points on a continuum than practitioners working in quite distinct spheres. But this approach has two distinct advantages. First, it allows for suggestive connections to be made between films across almost three decades and between media forms, forcing us to reflect on what a genealogy of a contemporary Chinese “I” might look like before and beyond the digital camera. The Forsaken Generation in turn provides a staging post, a way of tracing a more subtle transition in subjectivity than the rather brutal shift often assumed between the post-1980s child and his or her predecessors. Second, the insistence on bringing fiction and non-fiction together within a single study is unusual in Chinese screen studies. Such an approach enables discussion across a generic boundary that increasingly bedevils the field, demonstrating why feature film, documentary, and video work need to be considered in dialogue with one another and with other forms of experimental cultural production. For this reason alone Wang’s book is worth reading."