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A Tarot for Pagans and Non-Pagans Alike
The Robin Wood Tarot has rapidly become one of the most popular
Tarot decks in the world. Its beautiful art, vibrant imagery and
luminous energies, enchants everyone.
The 22 Major Arcana cards are filled with life that was
previously unseen in the Tarot. It is also filled with the energy
of nature, taking the images outside of rooms and into the
beautiful abodes of the gods. For example, The High Priestess is an
ageless woman wearing a lunar headband. Behind her are trees and a
darkened sky lit only by the moon.
The shining strength of this deck lies in the fifty-six cards of
the Minor Arcana. The characters on the cards almost seem to
breathe. Often, the cards seem so dimensional you get the feeling
you could jump into them. Watch the boy carve pentagrams on wooden
disks in the eight of Pentacles. Gleefully help steal blades in the
five of Swords. Join in the merry dance on the four of Wands.
The 56-page booklet explains everything to give a Tarot reading,
including the upright and reversed meaning for each card and 3
different layouts. Each of the pip cards is given a word or short
phrase to help you identify the meaning of the card with virtually
no effort.
Pagans will love the influence of nature on this deck. Beginners
will find it makes learning the Tarot fun and easy. Experienced
Tarot readers will love the radiantly colorful, symbolic, and
infinitely captivating deck. Get your copy right away.
When "Hitchcock's Films" was first published, it quickly became
known as a new kind of book on film - one that came to be
considered a necessary text in the Hitchcock bibliography. When
Robin Wood returned to his writings on Hitchcock's films and
published "Hitchcock's Films Revisited" in 1989, the
multi-dimensional essays took on a new shape - one that was
tempered by Wood's own development as a critic. This new revised
edition of "Hitchcock's Films Revisited" includes a substantial new
preface in which Wood reveals his personal history as a film
scholar - including his coming out as a gay man, his views on his
previous critical work, and how his writings, his love of film, and
his personal life have remained deeply intertwined through the
years. This revised edition includes all original eighteen essays
and a new chapter on Marnie titled "Does Mark Cure Marnie? Or, 'You
Freud, Me Hitchcock.'"
This classic of film criticism, long considered invaluable for
its eloquent study of a problematic period in film history, is now
substantially updated and revised by the author to include chapters
beyond the Reagan era and into the twenty-first century. For the
new edition, Robin Wood has written a substantial new preface that
explores the interesting double context within which the book can
be read-that in which it was written and that in which we find
ourselves today. Among the other additions to this new edition are
a celebration of modern "screwball" comedies like "My Best Friend's
Wedding," and an analysis of '90s American and Canadian teen movies
in the vein of "American Pie," "Can't Hardly Wait," and
"Rollercoaster." Also included are a chapter on Hollywood today
that looks at David Fincher and Jim Jarmusch (among others) and an
illuminating essay on "Day of the Dead."
One of the most distinctive voices in film criticism explores
relationships between narrative style and sexual politics. Robin
Wood, well known for his books "Hollywood from Vietnam to Reagan"
and "Hitchcock's Films Revisited, " probes the political and sexual
ramifications of fascism and cinema, marriage and the couple,
romantic love, and representations of women, race, and gender in
contemporary films from the United States, Europe, and Japan. He
looks closely at the works of Leo McCarey and Jacques Rivette,
Ozu's "Noriko Trilogy," and the recent Generation X films "Before
Sunrise" and "The Doom Generation." In a chapter on fascism and
cinema that juxtaposes Leni Riefenstahl's "Triumph of the Will" and
Alain Resnais's "Night and Fog, " Wood finds that what is most
important is not these films' record of another time and place but
"the light they can throw on our contemporary cultural situation."
Wood's central concern in these chapters is the ways in which the
films relate to sexual politics and the organization within our
culture of gender and sexuality. Seeing humanity as a
"battleground" of a struggle between forces for Life and those of
Death, Wood holds out hope for a joining of the forces of feminism,
antiracism, lesbian and gay rights, and environmentalism necessary
for authentic movement toward liberation.
Robin Wood's writing on the horror film, published over five
decades, collected in one volume. Robin Wood-one of the foremost
critics of cinema-has laid the groundwork for anyone writing about
the horror film in the last half-century. Wood's interest in horror
spanned his entire career and was a form of popular cinema to which
he devoted unwavering attention. Robin Wood on the Horror Film:
Collected Essays and Reviews compiles over fifty years of his
groundbreaking critiques. In September 1979, Wood and Richard Lippe
programmed an extensive series of horror films for the Toronto
International Film Festival and edited a companion piece: The
American Nightmare: Essays on the Horror Film - the first serious
collection of critical writing on the horror genre. Robin Wood
onthe Horror Film now contains all of Wood's writings from The
American Nightmare and nearly everything else he wrote over the
years on horror-published in a range of journals and
magazines-gathered together for the first time. It begins with the
first essay Wood ever published, ""Psychoanalysis of Psycho,""
which appeared in1960 and already anticipated many of the ideas
explored later in his touchstone book, Hitchcock's Films. The
volume ends, fittingly, with, ""What Lies Beneath?"", written
almost five decades later, an essay in which Wood reflects on the
state of the horror film and criticism since the genre's
renaissance in the 1970s. Wood's prose iseloquent, lucid, and
convincing as he brings together his parallel interests in genre,
authorship, and ideology. Deftly combining Marxist, Freudian, and
feminist theory, Wood's prolonged attention to classic and
contemporary horror films explains much about the genre's meanings
and cultural functions. Robin Wood on the Horror Film will be an
essential addition to the library of anyone interested in horror,
science fiction, and film genre.
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Seal Breaker (Paperback)
Robin Wood; Edited by Ellen Klowden; Raven J. DeMers
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R583
Discovery Miles 5 830
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Ships in 10 - 15 working days
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The Apu Trilogy is the fourth directorial monograph written by
influential film critic Robin Wood and republished for a
contemporary audience. Focusing on the famed trilogy from Indian
director Satyajit Ray, Wood persuasively demonstrates his ability
at detailed textual analysis, providing an impressively sustained
reading that elucidates the complex view of life in the trilogy.
Wood was one of our most insightful and committed film critics,
championing films that explore the human condition. His analysis of
The Apu Trilogy reveals and illuminates the films' profoundly
humanistic qualities with clarity and rigor, plumbing the
psychological and emotional resonances that arise from Ray's
delicate balance of performance, camerawork, and visual design.
Wood was the first English language critic to write substantively
about Ray's films, which made the original publication of his
monograph on The Apu Trilogy unprecedented as well as impressive.
Of late there has been a renewed interest in North America in the
work of Satyajit Ray, yet no other critic has come close to
equaling the scope and depth of Wood's analysis. In his
introduction, originally published in 1971, Wood says Ray's work
was met with indifference. In response, he offers possible reasons
why this occurred, including social and cultural differences and
the films' slow pacing, which contemporary critics tended to
associate with classical cinema. Wood notes Ray's admiration for
Western film culture, including the Hollywood cinema and European
directors, particularly Jean Renoir and his realist films.
Assigning a chapter to each Pather Panchali (1955), Aparajito
(1957) and The World of Apu (1959), Wood goes on to explore each
film more thoroughly. One of the aspects of this book that is
particularly rewarding is Wood's analytical approach to the trilogy
as a whole, as well as detailed attention given to each of the
three films. The book, with a new preface by Richard Lippe and
foreword by Barry Keith Grant, functions as a masterclass on what
constitutes an in-depth reading of a work and the use of critical
tools that are relevant to such a task. Robin Wood's The Apu
Trilogy offers an excellent account of evaluative criticism that
will appeal to film scholars and students alike.
Arthur Penn - director of The Miracle Worker, Bonnie and Clyde,
Alice's Restaurant and Little Big Man - was at the height of his
career when Robin Wood's analysis of the American director was
originally published in 1969. Although Wood then considered Penn's
career only through Little Big Man, Arthur Penn remains the most
insightful discussion of the director yet published. In this new
edition, editor Barry Keith Grant presents the full text of the
original monograph along with additional material, showcasing
Wood's groundbreaking and engaging analysis of the director. Of all
the directors that Wood profiled, Penn is the only one with whom he
developed a personal relationship. In fact, Penn welcomed Wood on
the set of Little Big Man (1969), where he interviewed the director
during production of the film and again years later when Penn
visited Wood at home. Both interviews are included in this expanded
edition of Arthur Penn, as are five other pieces written over a
period of sixteen years, including the extended discussion of The
Chase that was the second chapter of Wood's later important book
Hollywood from Vietnam to Reagan. The volume also includes a
complete filmography and a foreword by Barry Keith Grant. The
fourth classic monograph by Wood to be republished by Wayne State
University Press, this volume will be welcomed by film scholars and
readers interested in American cinematic and cultural history.
As America tries to forget the horrors of the Great War by
embracing jazz, flappers, and the speakeasy, the Watchers remain
vigilant by protecting the innocent and maintaining order among the
Immortals-including a powerful line of Seers who are all but
extinct. But the real horror is just beginning. When George Yates
is ordered to escort the beautiful Rosemond Le Clair to safety, he
finds himself in the middle of an ancient feud that demands her
blood. Without the Watchers' help, he must struggle to protect the
last remaining daughter of the Le Clair family from these dark
powers, even as he defies fate itself.
"I tried to push him back, but he was too strong, like iron.
Suddenly his head snapped up like he heard something; he craned his
neck to listen and then he let out a hiss. He kissed next to my ear
and softly whispered, "I think breaking you will be much more fun.
I'll see you soon." And then he added, as if an afterthought, "Tell
him hello for me." Then I felt his mouth lock onto the base of my
neck and something pierce my flesh. It hurt. Despite my panic,
after a few moments, my heart slowed, and everything became
distorted as the blackness came for me." After breaking up with her
boyfriend, seventeen-year old Aleria "Ali" Hayes finally feels
liberated. Unfortunately, her ex's buddies are not making it easy
on her. When his friends harass her one night, a mysterious
stranger, Bowen, steps in to rescue her. But just as this new
relationship seems to be taking off, Ali is attacked by something
far worse than spiteful high school boys. When she awakes, her eyes
are opened to a world where gods still walk the earth, where
vampires and other immortals fight for supremacy- and where fate
may be stronger than free will. Now, Ali must decide who she can
trust, and whether the world of mortals is worth saving at all.
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