A collection of poetry written and self-published in 1997. This second edition has been edited and another poem (completed in 2000) has been added.

This study examines the historical relationship between tragicomedy in the modernist theatre and the performative culture of Western consumer societies. While discussing a wide range of playwrights, it focusses specifically on the work of Samuel Beckett, Harold Pinter and Sam Shepard. Their plays, it is argued, illuminate the forms of pleasure, fear, performance and corruption which dominate our daily lives. Tragicomedy is seen as unique because of the existential playfulness and confusion of its protagonists, and because of its muted vision of apocalypse in the nuclear age.

Ingmar Bergman's films had a very broad and rich relationship with the rest of European cinema, contrary to the myth that Bergman was a peripheral figure, culturally and aesthetically isolated from the rest of Europe. This book contends that he should be put at the very center of European film history by chronologically comparing Bergman's relationship to key European directors such as Carl Theodor Dreyer, Jean-Luc Godard, Michelangelo Antonioni, and Andrei Tarkovsky, and also looks at Bergman's critical relationship to key movements in film history such as the French New Wave. In so doing, it demonstrates how Ingmar Bergman's films illustrate the demonic struggle in modernity between faith and secularity through "his intense preoccupation with the malaise of intimacy."

Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. It begins with essays analyzing new post-war forms of film narrative and responses to the filmic innovations of the 1960s and the question of modernism. Pasolini's landmark polemic on the cinema of poetry is a vital springboard for the later critiques of time and the image, subjectivities and their narrative transformation, and the topical question of film and postmodernity. A discussion of changes in film technology and cinematic perception extend to the questions of film documentary. Finally, there is a focus on cinematographers and their filmic collaboration.

The second section, International Cinema, places filmmaking and filmmakers in a social and a national context. It brings together landmark essays which contextualize feature films historically, yet also highlight their aesthetic power and their wider cultural importance. Filmmakers discussed include Ozu, Welles, Bresson, Hitchcock, Godard, Egoyan, Fassbinder and Zhang Yimou.

Contributors include: Nestor Almendros, Jacques Aumont, Andre Bazin, Noel Burch, Scott Bukatman, Michael Chapman, Rey Chow, Terry Comito, Timothy Corrigan, Angela Della Vacche, Gilles Deleuze, Peter Harcourt, Frederic Jameson, Bruce Kawin, Krzystof Kieslowski, Vassiliki Kolocotroni, Teresa de Lauretis, Colin MacCabe, Christian Metz, Tania Modleski, Laura Mulvey, Bill Nicholls, John Orr, David Pascoe, Pier Paolo Pasolini, Duncan Petrie, Donald Richie, Larry Salvato, Dennis Schaefer, Paul Schrader, Susan Sontag, Andrei Tarkovsky, J.P. Telotte, Paul Virilio, Peter Wollen, Ismail Xavier, Denise Youngblood.

Ingmar Bergman's films had a very broad and rich relationship with the rest of European cinema, contrary to the myth that Bergman was a peripheral figure, culturally and aesthetically isolated from the rest of Europe. This book contends that he should be put at the very center of European film history by chronologically comparing Bergman's relationship to key European directors such as Carl Theodor Dreyer, Jean-Luc Godard, Michelangelo Antonioni, and Andrei Tarkovsky, and also looks at Bergman's critical relationship to key movements in film history such as the French New Wave. In so doing, it demonstrates how Ingmar Bergman's films illustrate the demonic struggle in modernity between faith and secularity through "his intense preoccupation with the malaise of intimacy."

Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. It begins with essays analyzing new post-war forms of film narrative and responses to the filmic innovations of the 1960s and the question of modernism. Pasolini's landmark polemic on the cinema of poetry is a vital springboard for the later critiques of time and the image, subjectivities and their narrative transformation, and the topical question of film and postmodernity. A discussion of changes in film technology and cinematic perception extend to the questions of film documentary. Finally, there is a focus on cinematographers and their filmic collaboration.

The second section, International Cinema, places filmmaking and filmmakers in a social and a national context. It brings together landmark essays which contextualize feature films historically, yet also highlight their aesthetic power and their wider cultural importance. Filmmakers discussed include Ozu, Welles, Bresson, Hitchcock, Godard, Egoyan, Fassbinder and Zhang Yimou.

Contributors include: Nestor Almendros, Jacques Aumont, Andre Bazin, Noel Burch, Scott Bukatman, Michael Chapman, Rey Chow, Terry Comito, Timothy Corrigan, Angela Della Vacche, Gilles Deleuze, Peter Harcourt, Frederic Jameson, Bruce Kawin, Krzystof Kieslowski, Vassiliki Kolocotroni, Teresa de Lauretis, Colin MacCabe, Christian Metz, Tania Modleski, Laura Mulvey, Bill Nicholls, John Orr, David Pascoe, Pier Paolo Pasolini, Duncan Petrie, Donald Richie, Larry Salvato, Dennis Schaefer, Paul Schrader, Susan Sontag, Andrei Tarkovsky, J.P. Telotte, Paul Virilio, Peter Wollen, Ismail Xavier, Denise Youngblood.

This study examines the historical relationship between tragicomedy in the modernist theatre and the performative culture of Western consumer societies. While discussing a wide range of playwrights, it focusses specifically on the work of Samuel Beckett, Harold Pinter and Sam Shepard. Their plays, it is argued, illuminate the forms of pleasure, fear, performance and corruption which dominate our daily lives. Tragicomedy is seen as unique because of the existential playfulness and confusion of its protagonists, and because of its muted vision of apocalypse in the nuclear age.

This book is a major reassessment of the great Polish director Andrzej Wajda, who received a Academy Award for Lifetime Achievement in 2000. This timely collection covers all aspects of his work, from his early trilogy of the 1950s -- "A Generation," "Kanal," "Ashes and Diamonds" -- to his 1999 epic, "Pan Tadeusz," The contributors consider Wajda's daring innovations in style, his concern with Polish history and nationhood, and his artistic defiance of authoritarian rule during the Cold War, particularly in such films as "Man of Marble" and "Man of Iron," A wide-ranging examination of this prolific filmmaker, "The Cinema of Andrzej Wajda" covers four decades of films that reflect not only the major changes in this director's work but also the changing nature of cinema itself.

Roman Polanski is a great maverick figure of world cinema who has lived a controversial and tragic life. Yet his notoriety has eclipsed the true importance of his long career, starting with his short films in the 1950s and continuing through to the recent "Oliver Twist" (2005). This collection highlights the bold and dazzling diversity of his work as well as recurrent themes and obsessions. Films discussed include "Knife in the Water" (1962), "Repulsion" (1965), "Rosemary's Baby" (1968), "Chinatown" (1974), "Death and the Maiden" (1994), and "The Pianist" (2002).

"Hitchcock and Twentieth-Century Cinema" looks at the work, influences, legacy and style of one of cinema's most famous directors. Alfred Hitchcock worked in Britain and America, in silent and sound films, and through and beyond the studio system, all the time appealing to mass audiences while employing his own distinctive style. This book examines how he was affected by German cinema, British writing, the Hays Code and his own upbringing to produce films that challenged key notions of acting, sexuality, mise-en-sc?ne and narrative convention. John Orr contends that Hitchcock is a matrix figure who forged a new dynamics of exchange and of re-made identities in the feature film that in turn has influenced film noir, neo-noir, the French New Wave and David Lynch, as well as countless filmmakers all around the world and, indeed, continues to do so.

In a fresh and invigorating look at British cinema that considers film as an art form among other arts, John Orr takes a critical look at the intriguing relationship between romanticism and modernism that has been much neglected in the study of UK cinema and downplayed in the development of Western cinema. Encompassing a broad selection of films, film-makers and debates, this book brings a fresh perspective to how scholars might understand and interrogate the major traditions that have shaped British cinema history. Covering the period between 1929 and the present, this book examines outstanding directors such as Alfred Hitchcock, David Lean, Carol Reed, Nicholas Roeg, Terence Davies and Bill Douglas, and articulates two genres vital to British cinema - the fugitive film and the trauma film - which bridge the gap between romantic and modern forms. Two detailed chapters also assess the powerful impact of major expatriate directors like Losey, Antonioni, Polanski, Kubrick and Skolimowski on modernism in the 1960s and 1970s. Detailed critical readings explore Blackmail, The Lady Vanishes, Black Narcissus, Odd Man Out, The Passionate Friends, The Innocents, Lawrence of Arabia, The Servant, Blow-Up, A Clockwork Orange, Don't Look Now, The Wicker Man, Moonlighting, the Bill Douglas trilogy and The Long Day Closes. The book concludes with an analysis of the persistence of romantic and modernist forms in the 21st century in two recent prize-winning features, Control and Hunger.

Roman Polanski is a great maverick figure of world cinema who has lived a controversial and tragic life. Yet his notoriety has eclipsed the true importance of his long career, starting with his short films in the 1950s and continuing through to the recent "Oliver Twist" (2005). This collection highlights the bold and dazzling diversity of his work as well as recurrent themes and obsessions. Films discussed include "Knife in the Water" (1962), "Repulsion" (1965), "Rosemary's Baby" (1968), "Chinatown" (1974), "Death and the Maiden" (1994), and "The Pianist" (2002).

This book is a major reassessment of the great Polish director Andrzej Wajda, who received a Academy Award for Lifetime Achievement in 2000. This timely collection covers all aspects of his work, from his early trilogy of the 1950s -- "A Generation," "Kanal," "Ashes and Diamonds" -- to his 1999 epic, "Pan Tadeusz," The contributors consider Wajda's daring innovations in style, his concern with Polish history and nationhood, and his artistic defiance of authoritarian rule during the Cold War, particularly in such films as "Man of Marble" and "Man of Iron," A wide-ranging examination of this prolific filmmaker, "The Cinema of Andrzej Wajda" covers four decades of films that reflect not only the major changes in this director's work but also the changing nature of cinema itself.

This is a reproduction of a book published before 1923. This book may have occasional imperfectionssuch as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed worksworldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Theism: A Treatise On God, Providence, And Immortality John Orr Simpkin, Marshall, 1857 Religion; Christian Theology; Systematic; God; Religion / Christian Theology / Systematic; Theism

George Siofra -- writer, detective, all-around charming and witty fellow -- is rocked to his socks when he meets Deborah Bolting-Macpherson, who is also witty and charming, and to George, overwhelmingly beautiful and attractive. And, as George learns later, a witch. With a wand, even. Some bad people want to hurt Deborah. And a sociopathic, talented wizard really does hurt her. Also, there is the matter of The Globe, which George's genius friend, Sebastian, uses to transport George hundreds of miles in a second. Then strand him, in the desert. And the nasty cat that can burst into flame without hurting itself. Others, yes. Itself, no. A busy time for George, his boss, Richard Millan, and some other clever people in Palo Alto, California, city of green trees and ripe geniuses. Modern technology and ancient magic will have to learn to play well together, if disaster is to be averted.

The city has long been an important location for film-makers. Visually compelling and always "modern," it is the perfect metaphor for man's place in the contemporary world.
In this provocative collection of essays, a diverse range of films are examined in terms of the relationship between cinema and paradigmatic urban experience in Europe and North America since the early twentieth century. Moscow, Leningrad, Berlin, Prague and Warsaw--sites of dramatic upheaval in the 1920s-1930s, and again in the 1970s-1980s--feature strongly in the first part of the book. In the cinematic representation of these cities, modernist experimentation combined with social and political change to produce such memorable films as "The Man with the Movie Camera," " Berlin: The Symphony of a Great City," " Berlin Alexanderplatz" and, more recently, the work of Krzysztof Kieslowski, Jan svankmajer and the Brothers Quay. The different but comparable space of the North American city since World War Two provides the primary focus for the second part of the book. Here, New York, Los Angeles, Chicago, San Francisco and Toronto provide the settings for an investigation of the relationship between cinema and race, and cinema and postmodern global capitalism, in a comprehensive range of films from "Point Blank," " Medium Cool," " Network "and" Annie Hall "in the 1960s and 1970s, to "Boyz N the Hood," " Falling Down," " Pulp Fiction," " Safe]," " Crash "and" The End of Violence" in the 1990s.
Throughout the book, the cinema's artistic encounter with the city always intersects with a social and political engagement in which urgent issues of class, race, sexuality, the environment, liberty, capital, and totalitarianism are everywhere at stake.

Contemporary Cinema is a major study of key developments in the cinema over the last thirty years. It reworks Pasolini's landmark concept of 'the cinema of poetry' to look at the transformation of film form in its encounter with society, the sacred, the subjective and the presence of the camera. Poetic cinemas are seen as creating a distincitive match in their own cultures between critical social engagement and the delirium of form. In the 1970s, the influential forms of a cinema of poetry are analysed in key features by Altman, Herzog, Malick, Scorsese, Weir, Von Trotta and Tarkovsky while in the 1980s and 1990s the emergence of new filmmakers has meant a diffusion of different cinemas of poetry using new techniques and new technologies. Of key importance here is the work of Kieslowski, Lynch, Egoyan, Campion, Greenaway, Zhang Yimou, Tran Anh Hung and Wong Kar-Wai, as well as the reinvention of science fiction and film noir in American genre. These multiple cinemas of poetry with their social commitment and stylistic delirium have created a new freshness, vitality and visual impact to outrival the mainstream genre products of the Hollywood studies which currently dominate the world. * The most comprehensive study of major developments in the cinema during the last thirty years. * New insights into the transformation of 1970s cinema * Shows the continuing diffusion of cinemas of poetry and the most talented filmmakers of the 1980s and 1990s. * Looks at the vitality of the different cinemas of poetry as aesthetic resistance to the forms of filmmaking dictated by the power and money of the Hollywood studios. * Illustrated with 10 black-and-white film stills.