Kirjahaku

In this Oxford Guide to Film Musicals, author Hannah Lewis gives readers fascinating new insights into the development, style, and reception of the 2016 film musical La La Land. Directed by Damien Chazelle with music by Justin Hurwitz, the film tells the story of a romance between an aspiring actress and jazz pianist as the two pursue their dreams in Los Angeles. It uses a vintage form to tell a modern story and its blend of nostalgia and realism made it an instant classic even as it prompted a range of critical and audience responses. Drawing on extensive personal interviews with director Damien Chazelle, composer Justin Hurwitz, choreographer Mandy Moore, and lyricists Benj Pasek and Justin Paul, the book explores La La Land's aesthetic approach to the film musical genre, particularly its engagement with and subversion of the classic Hollywood musical's stylistic and narrative expectations. Lewis offers readers ways of listening to the film's depiction of jazz, focusing especially on how race and genre intersect in its narrative. She also reveals new insights into the film's reception, showing how the critical response from its premiere to its place at the Academy Awards reflected broader cultural expectations and understandings of the film musical and its continued appeal for twenty-first century audiences. By exploring the range of stylistic and cultural debates that La La Land prompted, this book gives readers new ways of thinking about the film musical genre's enduring and evolving place in contemporary American culture.

In this Oxford Guide to Film Musicals, author Hannah Lewis gives readers fascinating new insights into the development, style, and reception of the 2016 film musical La La Land. Directed by Damien Chazelle with music by Justin Hurwitz, the film tells the story of a romance between an aspiring actress and jazz pianist as the two pursue their dreams in Los Angeles. It uses a vintage form to tell a modern story and its blend of nostalgia and realism made it an instant classic even as it prompted a range of critical and audience responses. Drawing on extensive personal interviews with director Damien Chazelle, composer Justin Hurwitz, choreographer Mandy Moore, and lyricists Benj Pasek and Justin Paul, the book explores La La Land's aesthetic approach to the film musical genre, particularly its engagement with and subversion of the classic Hollywood musical's stylistic and narrative expectations. Lewis offers readers ways of listening to the film's depiction of jazz, focusing especially on how race and genre intersect in its narrative. She also reveals new insights into the film's reception, showing how the critical response from its premiere to its place at the Academy Awards reflected broader cultural expectations and understandings of the film musical and its continued appeal for twenty-first century audiences. By exploring the range of stylistic and cultural debates that La La Land prompted, this book gives readers new ways of thinking about the film musical genre's enduring and evolving place in contemporary American culture.

Following years of theology of deafness based on the premise that Deaf people are simply people who cannot hear, this book breaks new ground. Presenting a new approach to Deaf people, theology and the Church, this book enables Deaf people who see themselves as members of a minority group to formulate their own theology rooted in their own history and culture. Deconstructing the theology and practice of the Church, Hannah Lewis shows how the Church unconsciously oppresses Deaf people through its view of them as people who cannot hear. Lewis reclaims Deaf perspectives on Church history, examines how an essentially visual Deaf culture can relate to the written text of the Bible and asks 'Can Jesus sign?' This book pulls together all these strands to consider how worship can be truly liberating, truly a place for Deaf people to celebrate who they are before God.

Following years of theology of deafness based on the premise that Deaf people are simply people who cannot hear, this book breaks new ground. Presenting a new approach to Deaf people, theology and the Church, this book enables Deaf people who see themselves as members of a minority group to formulate their own theology rooted in their own history and culture. Deconstructing the theology and practice of the Church, Hannah Lewis shows how the Church unconsciously oppresses Deaf people through its view of them as people who cannot hear. Lewis reclaims Deaf perspectives on Church history, examines how an essentially visual Deaf culture can relate to the written text of the Bible and asks 'Can Jesus sign?' This book pulls together all these strands to consider how worship can be truly liberating, truly a place for Deaf people to celebrate who they are before God.