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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."
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."
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 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.
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.
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.
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.
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).
In a Simple Rhyme is a collection of poetry written over the course
of the 1990s. The poetry covers the thoughts, emotions, and
observations of John Orr. This book of poetry is his first book
publication.
In a Simple Rhyme is a collection of poetry written over the course
of the 1990s. The poetry covers the thoughts, emotions, and
observations of John Orr. This book of poetry is his first book
publication.
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.
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.
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
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 imperfections such 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 works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
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