Lisa Shaw

An Inspiring Tale of Kids Helping Their Hungry Parents... What Could Go Wrong? "Help My Parents Are Hungry" follows the heartwarming adventure of a spirited little girl and her brother as they step up to the plate to provide breakfast for their hungry parents. With determination, teamwork and responsibility, they prepare a sumptuous meal, but when an unexpected mishap leads to disappointment, they learn valuable lessons about family bonding and resilience. In addition to learning valuable lessons, the adventure continues for readers with exciting activities inspired by the story to spark creativity and engage young readers. Get it now

First published in 1999, this volume examines the impact of political, social and cultural developments on the nation’s most popular musical form, samba, in the context of the period 1930-45, one of huge social change in Brazil, with the introduction of industrialization under the authoritarian regime of Getúlio Vargas. She looks at the context in which the songs were written, the life styles and social positions of the composers (sambistas), and their relationship to political and commercial structures. By studying samba lyrics we can obtain a clear picture of samba lyrics we can obtain a clear picture of samba’s shifting status as it was transformed from the music of working-class blacks and was appropriated by mainstream middle-class culture. The final chapters of the book focus on the lyrics of three influential sambistas: Ataúlfo Alves, Noel Rosa and Ari Barroso, and look at the manner in which their songs both comply with and flout tradition and authority.

First published in 1999, this volume examines the impact of political, social and cultural developments on the nation’s most popular musical form, samba, in the context of the period 1930-45, one of huge social change in Brazil, with the introduction of industrialization under the authoritarian regime of Getúlio Vargas. She looks at the context in which the songs were written, the life styles and social positions of the composers (sambistas), and their relationship to political and commercial structures. By studying samba lyrics we can obtain a clear picture of samba lyrics we can obtain a clear picture of samba’s shifting status as it was transformed from the music of working-class blacks and was appropriated by mainstream middle-class culture. The final chapters of the book focus on the lyrics of three influential sambistas: Ataúlfo Alves, Noel Rosa and Ari Barroso, and look at the manner in which their songs both comply with and flout tradition and authority.

Brazilian popular culture, including music, dance, theater, and film, played a key role in transnational performance circuits-inter-American and transatlantic-from the latter nineteenth century to the middle of the twentieth century. Brazilian performers both drew inspiration from and provided models for cultural production in France, Portugal, Argentina, the United States, and elsewhere. These transnational exchanges also helped construct new ideas about, and representations of, “racial” identity in Brazil. Tropical Travels fruitfully examines how perceptions of “race” were negotiated within popular performance in Rio de Janeiro and how these issues engaged with wider transnational trends during the period.Lisa Shaw analyzes how local cultural forms were shaped by contact with imported performance traditions and transnational vogues in Brazil, as well as by the movement of Brazilian performers overseas. She focuses specifically on samba and the maxixe in Paris between 1910 and 1922, teatro de revista (the Brazilian equivalent of vaudeville) in Rio in the long 1920s, and a popular Brazilian female archetype, the baiana, who moved to and fro across national borders and oceans. Shaw demonstrates that these transnational encounters generated redefinitions of Brazilian identity through the performance of “race” and ethnicity in popular culture. Shifting the traditional focus of Atlantic studies from the northern to the southern hemisphere, Tropical Travels also contributes to a fuller understanding of inter-hemispheric cultural influences within the Americas.

Brazilian popular culture, including music, dance, theater, and film, played a key role in transnational performance circuits-inter-American and transatlantic-from the latter nineteenth century to the middle of the twentieth century. Brazilian performers both drew inspiration from and provided models for cultural production in France, Portugal, Argentina, the United States, and elsewhere. These transnational exchanges also helped construct new ideas about, and representations of, “racial” identity in Brazil. Tropical Travels fruitfully examines how perceptions of “race” were negotiated within popular performance in Rio de Janeiro and how these issues engaged with wider transnational trends during the period.Lisa Shaw analyzes how local cultural forms were shaped by contact with imported performance traditions and transnational vogues in Brazil, as well as by the movement of Brazilian performers overseas. She focuses specifically on samba and the maxixe in Paris between 1910 and 1922, teatro de revista (the Brazilian equivalent of vaudeville) in Rio in the long 1920s, and a popular Brazilian female archetype, the baiana, who moved to and fro across national borders and oceans. Shaw demonstrates that these transnational encounters generated redefinitions of Brazilian identity through the performance of “race” and ethnicity in popular culture. Shifting the traditional focus of Atlantic studies from the northern to the southern hemisphere, Tropical Travels also contributes to a fuller understanding of inter-hemispheric cultural influences within the Americas.

This is a book of my poetry that I hope will transport the reader into my mind and also hope that it will help them relate and know that they are not alone.

This is the first book-length study of Carmen Miranda in English. It traces her origins as a radio singer, recording artist and film star in Brazil in the 1930s, before exploring in depth her Hollywood screen roles and the construction of her long-lasting star persona in the USA.

Brazilian cinema is one of the most influential national cinemas in Latin America and this wide-ranging study traces the evolution of Brazilian film from the silent era to the present day, including detailed studies of more recent international box-office hits, such as Central Station (1998) and City of God (2002).Brazilian National Cinema gives due importance to traditionally overlooked aspects of Brazilian cinema, such as popular genres, ranging from musical comedies (the chanchada) to soft-core porn films (the pornochanchada) and horror films, and also provides a fresh approach to the internationally acclaimed avant-garde Cinema Novo of the 1960s. Lisa Shaw and Stephanie Dennison apply recent theories on stardom, particularly relating to issues of ethnicity, race and gender, to both well-known Brazilian performers, such as Carmen Miranda and Sonia Braga, and lesser known domestic icons, such as the Afro-Brazilian comic actor, Grande Otelo (Big Othello), and the uberblonde children’s TV and film star, and media mogul, Xuxa. This timely addition to the National Cinemas series provides a comprehensive overview of the relationship between Brazilian cinema and issues of national and cultural identity.

Brazilian cinema is one of the most influential national cinemas in Latin America and this wide-ranging study traces the evolution of Brazilian film from the silent era to the present day, including detailed studies of more recent international box-office hits, such as Central Station (1998) and City of God (2002).Brazilian National Cinema gives due importance to traditionally overlooked aspects of Brazilian cinema, such as popular genres, ranging from musical comedies (the chanchada) to soft-core porn films (the pornochanchada) and horror films, and also provides a fresh approach to the internationally acclaimed avant-garde Cinema Novo of the 1960s. Lisa Shaw and Stephanie Dennison apply recent theories on stardom, particularly relating to issues of ethnicity, race and gender, to both well-known Brazilian performers, such as Carmen Miranda and Sonia Braga, and lesser known domestic icons, such as the Afro-Brazilian comic actor, Grande Otelo (Big Othello), and the uberblonde children’s TV and film star, and media mogul, Xuxa. This timely addition to the National Cinemas series provides a comprehensive overview of the relationship between Brazilian cinema and issues of national and cultural identity.

A survey of contemporary Latin American popular culture, covering topics that range from music and film to popular festivals and fashion.Like no other volume of its kind, Pop Culture Latin America! captures the breadth and vitality of pop culture in Central and South America and the Caribbean, exploring both familiar and lesser-known aspects of its unique melange of art, entertainment, spirituality, and celebrations.Written by contributors who are scholars and specialists in the cultures and languages of Latin America, the book focuses on the historical, social, and political forces that have shaped Latino culture since 1945, particularly in the last two decades. Separate chapters cover music, popular cinema, mass media, theater and performance, literature, cultural heroes, religions and festivals, social movements and politics, the visual arts and architecture, sports and leisure, travel and tourism, and language.Chronology of major developments in the cultural life of post-1945 Latin AmericaA bibliography of the literature and electronic resources on the major forms of popular culture in each country or region

Brazil has one of the most significant and productive film industries in Latin America. This ground-breaking study provides an entertaining insight into the Brazilian films that have most captured the imagination of domestic audiences over the years.The recent international success of films such as Central Station and City of God, has stimulated widespread interest in Brazilian film, but studies written in English focus on the 'auteur' cinema of the 1960s. This book focuses on individual films in their socio-historical context, drawing on extensive fieldwork in Brazil and Latin America. It argues that Brazilian cinema has almost always been grounded in intrinsically home-grown cultural forms, dating back to the nineteenth century, such as the Brazilian music-hall, the travelling circus, radio shows, carnival, and, later, comedy television.Combining a chronological structure with groundbreaking research and a lively approach, Popular cinema in Brazil is the ideal introduction to Brazilian cinema.