Acclaimed British director Michael Winterbottom is renowned for the abundance and diversity of his output. His films span a wide range of genres in art house and mainstream cinema alike, from the heritage film to neo-noir. Working with different genres gives Winterbottom a framework in which to explore favored themes, while incorporating new ideas and taking on new challenges. At the same time, his manner of undermining familiar generic qualities and frustrating audience expectations also refreshes the genres he explores. In The Cinema of Michael Winterbottom, Deborah Allison investigates Winterbottom's contributions to contemporary cinema, using ideas of genre as a critical tool. Focusing on eight films, Allison examines the ways he adopts, inflects, and challenges the main attributes of the films' associated genres, enriching a highly personal and idiosyncratic style of filmmaking. The potency and integrity of his authorship unites films as generically diverse as the road movie Butterfly Kiss, western drama The Claim, sci-fi romance Code 46, and docudrama The Road to Guantanamo.
Since the days of silent cinema, opening title sequences have provided audiences with far more than just a list of names. Their designers-whether anonymous studio employees or world-renowned artists such as Saul Bass and Maurice Binder-have found countless ways to captivate and entertain us while the credits unfurl. Featuring all the creative devices at the filmmakers' disposal, these introductions serve to whet our appetite for the films ahead while helping to shape our viewing expectations in crucial ways. This anthology brings together 18 years of publications by Deborah Allison, who was one of the first scholars to conduct extensive research into the history of American film title sequences. Topics covered include the main functions of opening title sequences; an historical survey of key design trends in American film titling; aesthetic responses to the advent of widescreen cinema; theme songs and generic iconography in Westerns; novelty title sequences and self-reflexivity; cartoons and caricatures of cast and crew; and retro title sequences. The collection also features a new and exclusive essay about title sequence design in the twenty-first century.
Three heartwarming stories celebrate both the romance and bittersweet fear of love. Includes "Can I Call You Sweetheart?" by Peggy Daniels; "Winter Roses" by Allison Knight; and "Be Mine" by Deborah Matthews.
A widow by the age of 27, Maggie had long stopped hoping to find true happiness. And when Sam Adams showed up one day with Maggie's orphaned nephew, she knew the little boy deserved a better mother than she could ever be. But Sam's tender love soon revealed Maggie's passionate side--as well as the gentle heart of a true mother.
Hollywood can seem like a tricky beast, but the more you know about its wily ways, the less intimidating it is, and the more fun its wild nature will be. "Thriving in Hollywood!" is a compilation of 25 pieces written by 21 different women in the entertainment industry from the first year of msinthebiz.com. Whether you are brand new to the business or an industry veteran, "Thriving in Hollywood!" will keep you motivated, inspired and arm you with knowledge.
A more global, flexible way to teach art history. The history of art: a global view is the first major art history survey textbook — written by a team of expert authors — with a global narrative in mind. A chronological organization and 'Seeing connections' features help readers make cross-cultural comparisons, while brief, modular chapters (with on-page definitions) offer instructors unparalleled flexibility. You can assign more than one chapter per week for a fully global course, or skip and reorder chapters, for a more focused syllabus"--
Provides an account of a teacher's quest to give a first-rate education to a group of seven impoverished Cincinnati girls using the powers of sisterhood and fiction.
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