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An American in Paris (1951) was a landmark film in the careers of
Vincente Minnelli, Gene Kelly and Leslie Caron. A joyous
celebration of George Gershwin's music, French art, the beauty of
dance and the fabled City of Light, the film was heralded as a rare
example of entertainment 'for mass and class alike'. Choreographed
by Kelly at the height of his career, it gave new stature to the
Hollywood musical, and showcased as never before the artistic
ambition, technical skills, creative imagination and collaborative
ethos of MGM's pioneering Arthur Freed Unit. Sue Harris draws on
archival material to trace the film's development from conception
to screen. Offering new insights into the design process in
particular, she shows how An American in Paris established the
cinematic template for a city with which Hollywood would become
increasingly infatuated in the decades to follow.
The most complete study of Blier's work to date, Harris traces the
director's career from the early 1960s until the present. Outlines
the forms, themes and style which dominate in Blier's work, and
challenges the many labels that have been used to describe both the
corpus of films and the man himself. Provides an original and
controversial discussion of Blier's alleged 'misogyny', and invites
the reader to understand the scatological and corporeal aspects of
Blier's filmmaking in terms of long-established traditions of
popular dramatic culture. Brings to light the comic mechanisms
underpinning Blier's films and identifies strategies which navigate
through one of the most entertaining and disconcerting bodies of
work of recent years. The first book on Blier published in English.
-- .
Interpersonal psychoanalytic theory states that people can achieve
insight into how, through interactions with people, they became who
they are, and how they can change patterns of living that limit
further satisfaction. People are born with a blueprint for growth
and development that includes self-respect, joy, expansion of
experiences, creativity, and ever widening and deepening human
interactions. With some exceptions, the mental health profession in
the United States is dictated by insurance and pharmaceutical
companies, focusing primarily on symptom reduction and social
conformity. These goals are inadequate. The goal, as elucidated in
this book, is maximizing one's human potential. Interpersonal
Psychoanalytic Theory for the 21st Century: Evolving Self is
written for practitioners in all areas of mental health and
pedagogy, whether or not they are psychotherapists or clinicians.
It is also intended for anyone interested in understanding
themselves and other people. Additionally, in the spirit of Harry
Stack Sullivan, developer of the theory, this volume addresses some
pressing issues relevant to interpersonal theory and practice in
the twenty-first century social/economic/political milieu.
Catherine Deneuve is indisputably one of the world's most
celebrated actresses, both in her own native France and throughout
the world. Her career has spanned five decades during which she has
worked with the most significant of French auteurs, as well as
forging partnerships with international directors such as Bunuel
and Polanski. The Deneuve star persona has attained such iconic
status as to come to symbolise the very essence of French womanhood
and civic identity. In this wide-ranging and authoritative
collection of essays by a selection of international film academics
and writers, the Deneuve persona is scrutinised and illuminated.
Beyond the glamorous iconographic status of Yves Saint Laurent's
muse, and the epitome of sexual inviolability, Deneuve's status as
actress is foregrounded. The book will be essential reading for
students and lecturers in star studies.
The title of this guide book was thought up by a group of friends
who were lamenting the sad fact of the poorly educated male in the
romance department. Even at the sophisticated age of 50+ most men
are clueless in how to successfully court and woo a woman. We
discussed all the commonsense things men could do to make
themselves more appealing. On the bottom of the list was sex.
Because sex would not even be on the agenda if the man was boorish
in behavior. However, if he was thoughtful, kind, attentive and
unselfish, the direction of the relationship would be a completely
different story. Therefore the goal of this book is to make both
men and women happy, and to enjoy sex as the frosting on the cake
in a meaningful relationship.
This volume brings together the work of leading film scholars from
the UK, France and the US who assess a dominant art form's
engagement with expressions of national identity at key moments in
French cinematic history, from its origins at the end of the
nineteenth century, through the inter-war period, the Occupation,
the post-Liberation era, and the New Wave, up to the current state
of the industry. The essays go against the grain in their attempts
to construct an alternative history of French cinema, whether by
bringing to light overlooked films or by examining well-known,
indeed even 'over-exposed' films or filmmakers in a new light. In
re-evaluating the work of Georges MEliEs, Jacques Becker, Jean
Renoir, Diane Kurys, FranAois Truffaut, Jean-Luc Godard and
Jean-Jacques Beineix, the contributors to this volume focus on the
paradoxical centrality of the marginal in constructions of national
identity. In doing so, they reveal the structure of 'l'exception
franAaise', in which French culture makes an exception for itself
by suppressing alterity within it. This multi-faceted assessment of
French visual culture and identity will be of interest to students
and scholars in French studies, media and film studies, cultural
studies and French history.
This volume brings together the work of leading film scholars from
the UK, France and the US who assess a dominant art form's
engagement with expressions of national identity at key moments in
French cinematic history, from its origins at the end of the
nineteenth century, through the inter-war period, the Occupation,
the post-Liberation era, and the New Wave, up to the current state
of the industry. The essays go against the grain in their attempts
to construct an alternative history of French cinema, whether by
bringing to light overlooked films or by examining well-known,
indeed even 'over-exposed' films or filmmakers in a new light. In
re-evaluating the work of Georges MEliEs, Jacques Becker, Jean
Renoir, Diane Kurys, FranAois Truffaut, Jean-Luc Godard and
Jean-Jacques Beineix, the contributors to this volume focus on the
paradoxical centrality of the marginal in constructions of national
identity. In doing so, they reveal the structure of 'l'exception
franAaise', in which French culture makes an exception for itself
by suppressing alterity within it. This multi-faceted assessment of
French visual culture and identity will be of interest to students
and scholars in French studies, media and film studies, cultural
studies and French history.
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