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Using family photographs and quotes from her books, the author provides glimpses into her life.
Revealing, entertaining window on the music of the ’50s and ’60s
Anna Fischer grew up in Stalinist Ukraine during World War II. She recalls the gut-wrenching struggles of starvation, and the deportation of thousands of her fellow German Russian villagers. In 1951, she immigrated with her family to Alberta, Canada.
Mania Salinger was born in Radom, Poland and enjoyed a childhood blessed with love, friends, and good luck until horrors unleashed by Nazi invasion changed her life forever. Many of her friends and family perished during the Holocaust, but Mania survived those horrific years working in multiple Nazi camps, including Auschwitz and Bergen Belsen. Her optimistic spirit, shrewd instincts, and fierce determination to believe that life, and humanity, must prevail over evil helped her to endure.
In this extensively revised and updated edition of her classic work, Look Back in Gender, Michelene Wandor confirms the symbiotic relationship between drama and gender in a provocative look at key, representative British plays from the last fifty years. Repositioning the text at the heart of hteatre studies, Wandor surveys plays by Ayckbourn, Beckett, Churchill, Daniels, Friel, Hare, Kane, Osborne, Pinter, Ravenhill, Wertenbaker, Wesker and others. Her nuanced argument, central to any analysis of contemporary drama, discusses: *the imperative of gender in the playwright's imagination *the function of gender as a major determinant of the text's structural and narrative drives *the impact of socialism and feminism on post-war British drama, and the relevance of feminist dynamics in drama *differences in the representation of the fmaily, sexuality and the mother, before and after 1968 *the impact of the slogan that the 'personal is political' on contemporary form and content.
This book, the first full critical overview of the film avant-garde, ushers in a new approach—and in the process creates its own subject. While many books have studied particular aspects of the European film avant-garde of the 1920s and 1930s, Moving Forward, Looking Back provides a much-needed summary of the theory and practice of the movement, while also emphasizing aspects of the period that have been overlooked. Arguing that a European perspective is the only way to understand the transnational movement, the book also pioneers a new approach to the alternative cinema network that sustained the avant-garde, paying particular attention to the emergence of film culture as visible in screening clubs, film festivals, and archives. It will be essential to anyone interested in the influential movement and the film culture it created.

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