The KSJS booth
On Thursday, April 30, KSJS held its first ever “KSJS Music Showcase,” funded primarily through a Dean’s Global Grant from SJSU’s College of Humanities & Arts. KSJS’s commitment is to programming that includes a wide range of eclectic information and music from different musical and co-cultural traditions. The station provides an alternative to commercial radio programming by offering a diverse selection of under-represented music and unique public affairs.
The showcase was held in the CVB Quad. That’s on the southeast corner of the SJSU campus, between dormitories, where approximately 1,700 students live.
Students enjoying the Music Showcase
On stage at the Music Showcase
Thanks to the leadership of KSJS’s Jessica (Jazzy) O’Loughlin and a whole host of KSJS students working hours to support the event, it came together and provided SJSU students–current and incoming alike–with an enjoyable afternoon.
Associate Professor Alison McKee has been invited to participate in the Spring 2015 University Scholar Series to chat about her recently published book on “woman’s films” of the 1940s — movies that focus on love, desire, and loss against the backdrop of World War II.
For a fun and informative talk that is open to the SJSU community and the public, please join her on Wednesday, February 25, from noon to 1 p.m. in the Martin Luther King Library, Room 225/229.
Congratulations Dr. Alison McKee on the publication of her article,
‘Think of me fondly’: Voice, body, affect and performance in Prince/Lloyd Webber’s The Phantom of the Opera” in the journal: Studies in Musical Theatre (2013). Volume 7 Number 3, pp. 309–325.
This is a link to the complete article.
This article argues that Lloyd Webber’s megamusical The Phantom of the Opera, and specifically Michael Crawford’s original performance of the title role in London, New York and Los Angeles, combined sound, voice, gesture and technology in a unique physical expression of desire that reinscribed, exceeded and even redefined spectacle at the level of both the visual and the aural realms (paradoxical as that may seem). This argument runs counter to existing arguments about the separation of scopophilia and audiophilia in the theatre and also departs from some of the arguments about the narrative in different forms which is often discussed as privileging sound and hearing over image and sight.
Congratulations Dr. Alison McKee on the publication of her book: “The Woman’s Film of the 1940s.”
[It is available on AMAZON.COM]
The book explores the relationship among gender, desire, and narrative in 1940s woman’s films which negotiate the terrain between public history and private experience. The woman’s film and other form of cinematic melodrama have often been understood as positioning themselves outside history, and this book challenges and modifies that understanding, contextualizing the films it considers against the backdrop of World War II. In addition, in paying tribute to and departing from earlier feminist formulations about gendered spectatorship in cinema, McKee argues that such models emphasized a masculine-centered gaze at the inadvertent expense of understanding other possible modes of identification and gender expression in classical narrative cinema. She proposes ways of understanding gender and narrative based in part on literary narrative theory and ultimately works toward a notion of an androgynous spectatorship and mode of interpretation in the 1940s woman’s film.
Dr. Alison McKee interviewing Kenneth Turan
Professor Alison McKee moderated a discussion with L.A. Times and NPR film critic Kenneth Turan, who received one of Cinequest’s prestigious Media Legacy Awards. McKee and Turan discussed his career as a journalist, his passion for bringing good films and filmmakers to the attention of the public, and shared thoughts about FRUITVALE STATION which screened after their conversation.