John Updike - American Writers 79 was first published in 1969. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
(Limelight). Half a century after its opening, The Third Man remains an unquestioned masterpiece of film artistry and, for many, the greatest British movie ever made. Whether it is Harry Lime's magical first appearance or the celebrated cuckoo clock speech or the climactic chase through the sewers beneath Vienna or the haunting theme music of Anton Karas, the film contains some of the most memorable moments in screen history. Drawing on both contemporary documents and accounts of the people involved, In Search of The Third Man explores the many myths that over the years have grown around this extraordinary film, and seeks to unravel the facts from the fiction. "...you'll want to read The Third Man...The story of the film's creation is as intriguing as the film itself" Leonard Maltin, Playboy
John Updike - American Writers 79 was first published in 1969. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Vertigo (1958) is widely regarded as not only one of Hitchcock's best films, but one of the greatest films of world cinema. Made at the time when the old studio system was breaking up, it functions both as an embodiment of the supremely seductive visual pleasures that 'classical Hollywood' could offer and – with the help of an elaborate plot twist – as a laying bare of their dangerous dark side. The film's core is a study in romantic obsession, as James Stewart's Scottie pursues Madeleine/Judy (Kim Novak) to her death in a remote Californian mission. Novak is ice cool but vulnerable, Stewart – in the darkest role of his career – genial on the surface but damaged within. Although it can be seen as Hitchcock's most personal film, Charles Barr argues that, like Citizen Kane, Vertigo is at the same time a triumph not so much of individual authorship as of creative collaboration. He highlights the crucial role of screenwriters Alec Coppel and Samuel Taylor and, by a combination of textual and contextual analysis, explores the reasons why Vertigo continues to inspire such fascination. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Barr looks afresh at Vertigo alongside the recently-rediscovered 'lost' silent The White Shadow (1924), scripted by Hitchcock, which also features the trope of the double, and at the acclaimed contemporary silent film The Artist (2011), which pays explicit homage to Vertigo in its soundtrack.
Illuminates how the Rastafari movement managed to evolve in the face of severe biases Misunderstood, misappropriated, belittled: though the Rastafari feature frequently in media and culture, they have most often been misrepresented, their political and religious significance minimized. But they have not been vanquished. Charles Price’s Rastafari: The Evolution of a People and Their Identity reclaims the rich history of this relatively new world religion. Charting its humble and rebellious roots in Jamaica’s backcountry in the late nineteenth century to the present day, Price explains how Jamaicans’ obsession with the Rastafari wavered from campaigns of violence to appeasement and cooptation. Indeed, he argues that the Rastafari as a political, religious, and cultural movement survived the biases and violence they faced through their race consciousness and uncanny ability to ride the waves of anti-colonialism and Black Power. This social movement traveled throughout the Caribbean, Africa, Central America, and the United States, capturing the heart and imagination of much of the African diaspora. Rastafari spans the movement’s struggle for autonomy, its multiple campaigns for repatriation to Africa, and its leading role in the Black consciousness movements of the twentieth century. Not satisfied with simply narrating the past, Rastafari also takes on the challenges of gender equality and the commodification of Rastafari culture in the twenty-first century without abandoning its message of equality and empowering the downpressed. Rastafari shows how this cultural and political context helped to shape the development of a Black collective identity, demonstrating how Rastafarians confronted society-wide ridicule and oppression and emerged prouder and more united, steadfast in their conviction that they were a chosen people.
A man's twenty-seventh year is "critical," according to Charles Francis Adams. And so his proved to be. Twenty-five at the start of these volumes, Adams had yet to embark on the public career that would mark him a statesman, but by their conclusion he had been drawn into the maelstrom of politics. It was an unwilling plunge, dictated by what both he and his father, John Quincy Adams, regarded as betrayal of the elder Adams by Daniel Webster and his Whigs. Once in, however, he showed himself politically adept. This diary, kept from January 1833 to June 1836 and hitherto unpublished, has elements of hidden personal drama. Through private meetings and caucuses and newspaper articles signed with pseudonyms, the younger Adams found effective means to carry on political activities in the face of dilemmas posed by his father's public prominence, his father-in-law's contrary persuasions, and his own preferences. He emerged with growing self-respect and solid accomplishment as political journalist--his initial vocation. The diary has fresh disclosures also about the personality of John Quincy Adams, shrewdly assessed by an observer uniquely placed to interpret domestic scenes as well as the greatly waged struggles in Washington against the Southern "slaveocracy" and "gag rules." Colorful figures in Boston's political and social life are finely etched in outspoken appraisals characteristic of the Adamses. The diarist shows acuteness too in comments on books, sermons, paintings, the theater, and opera.
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