A recent Annenberg study was pretty depressing in terms of representation for people of color, and even white women, in Hollywood. But “how do you persuade the dream factory to dream a lot bigger than the lives of white men in the United States and Britain? The Annenberg study favours industry targets and movie contracts in which top talent would demand on-set equity from the studio bosses. Maybe this shaming will have some effect. … Giving female screenwriters and non-white screenwriters more chances seems more likely to produce a wider range of stories and different approaches to storytelling.”
Author: ArtsJournal2
Charleston Is Getting A New (And Potentially National) Ballet Company
The American National Ballet, its founders say, is a “start-up,” and they have plans for a company rooted in Charleston and a touring company. But then “there’a for-profit dance conservatory that enrolls talented young dancers from across the country, a for-profit marketing and media company called Jete Digital, a for-profit dancewear company and a performing arts foundation that can lend financial might to the enterprise.”
Some Print Magazine Sales Are Increasing, For The First Time Since The Internet
Basically, it’s the politics, stupid: “News and current affairs magazines are becoming more popular – but celebrity, gossip and fashion publications are still struggling. It’s a trend that Sarah Penny, editor of Fashion Monitor, puts down to the news agenda. ‘I think that we can all agree that the past 18 months have been pretty tumultuous within current affairs.'”
These Detroit-Area Artists Are Creating A Huge Art Summer Camp For Kids Who Can’t Afford Camp
What people who own a nonprofit are doing at the border of Hamtramck and Detroit: “They’ve got eight open lots. They garden on a few of them, but that still leaves plenty of space for other stuff. And in this part of the city, there aren’t any playgrounds. So this summer, Lerman and some neighborhood artists started a free, week-long day camp.”
This Is How Scandinavian Crime Fiction Took Over The World
In Sweden in 1998, “among the ten bestselling books of the month was not even a single Swedish crime novel. There were historical novels, chick lit, contemporary novels, satire. And just two crime novels of any description: one British, one American. That’s how the literary scene looked just 20 years ago! … The Swedish crime novel — the Scandinavian crime novel — was stuck in a rut of whodunnits, essentially the same thing written over and over again.” Then things changed.
What’s Up With Diversity, And The Lack Of It, On TV? The Press Tour Will Tell You
Peak TV and the success of shows ranging from Empire to Transparent, added to the strong awareness of April Reign’s #OscarsSoWhite campaign, have transformed the press tour from triumphant bragging to fierce discussions and defensive moves from networks – especially the exceedingly white and male CBS – about diversity in front of and behind the camera.
An Orchestra Runs Out Of Money In Pennsylvania
The Northeastern Pennsylvania Philharmonic plans to play one final concert, in October, and then shut down. “The orchestra ended last season with a $235,000 deficit. Officials say the executive director, the music director and the office staff have gone months without a paycheck.”
Pianist Vikingur Olafson On Why Philip Glass Is Important, And How To Play His Music
“He treats Mr. Glass’s music like a sculpture, worth studying from all angles in search of new interpretations and surprises. ‘I came to the conclusion that it’s not a repetition,’ Mr. Olafsson said of Mr. Glass’s music. ‘It’s a rebirth. It’s not treading the same path, but traveling in a spiral. That’s the image I have.'”
It’s The 50th Anniversary Of ‘Bonnie and Clyde’ – And *That* Pauline Kael Essay
This is how film criticism changed forever: Kael “was on her way out the door at TNR when she penned a lengthy (roughly seven thousand words) essay on Bonnie and Clyde, which the magazine politely declined. Too long, they told her. Her agent, Robert Mills, reached out to William Shawn, editor of The New Yorker; they had published a more free-form Kael essay, “Movies on Television,” earlier that summer. Maybe he’d like to take a look?”
The Fierce, Independent, Imaginative Women Of Novelist Claire Messud
Messud’s protagonists, “unusually for women in fiction, tend not to be wives or mothers. More often they’re figures who might be considered unpalatable, unattractive or — indeed — angry. Her work quietly seethes at the idea that a woman needs to be ‘likable’ — or that a man should be the judge of her likability.”