Jonathan Burston
Biographic Data
| ID | 1603017 |
|---|---|
| NAME | Jonathan Burston |
| GIVEN NAMES | Jonathan |
| FAMILY NAME | Burston |
| SIGNATURE | BURSTON J |
| AFFILIATIONS | Western University |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 1 |
The Slippery Slopes of “Soft Power”
The nexus conjoining sites within American entertainment, media, and communications industries to the US military has been called many names. This chapter deploys the phrase “military industrial media complex” (MIM‐plex) to describe this burgeoning political–economic formation, and it argues that, despite existing work, larger questions on the MIM‐plex remain unasked and unanswered about how studies of media production might matter to other disci…
Recombinant Broadway
There have been important changes in the way adaptations have been produced on Broadway over the last 30 years. Earlier Broadway-to-Hollywood transfers like West Side Story were produced in the economic contexts of mid-twentieth-century Fordism. Today, the transfer often works the other way, with Broadway adaptations of Hollywood blockbusters like The Lion King created and maintained from within a set of post-Fordist logics that live or die by th…
The Producers (review)
Max Bialystock, a sleazy Jewish Broadway producer, has not had a hit in years. His latest show has just opened and bombed; his rented tux is two weeks overdue. At the end of his rope, Bialystock meets Leo Bloom, a nebbish junior accountant. Together they conspire to con investors, produce a sure-fire flop, and make a fortune. The plan includes a Nazi musical called Springtime for Hitler; an outrageously effete homosexual director, Roger de Bris; …
Theatre space as virtual place
Early popular and theoretical work in popular music studies often bestowed implicit or explicit legitimacy on forms of music cultivating or preserving a 'live', 'unplugged', 'acoustic' and hence 'authentic' sound. Over the past fifteen years, much popular music scholarship (Frith 1986; Goodwin 1992; Cutler 1984) has rightly problematised this approach. It is important to note, however, that interpretations of popular music texts or scenes that de…
Theatre space as virtual place
Early popular and theoretical work in popular music studies often bestowed implicit or explicit legitimacy on forms of music cultivating or preserving a 'live', 'unplugged', 'acoustic' and hence 'authentic' sound. Over the past fifteen years, much popular music scholarship (Frith 1986; Goodwin 1992; Cutler 1984) has rightly problematised this approach. It is important to note, however, that interpretations of popular music texts or scenes that de…
Theatre space as virtual place
Early popular and theoretical work in popular music studies often bestowed implicit or explicit legitimacy on forms of music cultivating or preserving a 'live', 'unplugged', 'acoustic' and hence 'authentic' sound. Over the past fifteen years, much popular music scholarship (Frith 1986; Goodwin 1992; Cutler 1984) has rightly problematised this approach. It is important to note, however, that interpretations of popular music texts or scenes that de…
The Producers (review)
Max Bialystock, a sleazy Jewish Broadway producer, has not had a hit in years. His latest show has just opened and bombed; his rented tux is two weeks overdue. At the end of his rope, Bialystock meets Leo Bloom, a nebbish junior accountant. Together they conspire to con investors, produce a sure-fire flop, and make a fortune. The plan includes a Nazi musical called Springtime for Hitler; an outrageously effete homosexual director, Roger de Bris; …
Recombinant Broadway
There have been important changes in the way adaptations have been produced on Broadway over the last 30 years. Earlier Broadway-to-Hollywood transfers like West Side Story were produced in the economic contexts of mid-twentieth-century Fordism. Today, the transfer often works the other way, with Broadway adaptations of Hollywood blockbusters like The Lion King created and maintained from within a set of post-Fordist logics that live or die by th…
The Slippery Slopes of “Soft Power”
The nexus conjoining sites within American entertainment, media, and communications industries to the US military has been called many names. This chapter deploys the phrase “military industrial media complex” (MIM‐plex) to describe this burgeoning political–economic formation, and it argues that, despite existing work, larger questions on the MIM‐plex remain unasked and unanswered about how studies of media production might matter to other disci…
Art (3 works) · Political science (3 works) · Visual arts (3 works) · Art history (2 works) · Cinema and Media Studies (2 works) · Economics (2 works) · Engineering (2 works) · History (2 works) · Hollywood (2 works) · Law (2 works)