Historic images and descriptions of some of the most remarkable architecture in the Philadelphia area: Cairnwood, Cairncrest, Glencairn, and Bryn Athyn Cathedral. The structures were build by members of the Pitcairn family in the 19th and early 20th centuries, and reflect their New Church (Swedenborgian) faith and vision.
The Bryn Athyn Historic District, a National Historic Landmark, is home to some of the most remarkable architecture in the Philadelphia area. Bryn Athyn was founded in the late 19th century by members of a Christian denomination known as the New Church, and the buildings in the historic district reflect the religious faith and vision of some of the community's earliest residents. Cairnwood, an 1895 country house in the Beaux-Arts style, was built for industrialist John Pitcairn. Cairncrest was the residence of Harold Pitcairn, one of the foremost pioneers of early American aviation. Glencairn, a magnificent castle-like mansion, was designed by Raymond Pitcairn as a home for his family and art collections and built throughout the Great Depression. Bryn Athyn Cathedral was dedicated in 1919 and dubbed a masterpiece of architectural art.
This heartfelt and wry career memoir from the director of Blood Diamond, The Last Samurai, Legends of the Fall, About Last Night, and Glory, creator of the show Thirtysomething, and executive producer of My So-Called Life, gives a dishy, behind-the-scenes look at working with some of the biggest names in Hollywood"--
Historic images and descriptions of some of the most remarkable architecture in the Philadelphia area: Cairnwood, Cairncrest, Glencairn, and Bryn Athyn Cathedral. The structures were build by members of the Pitcairn family in the 19th and early 20th centuries, and reflect their New Church (Swedenborgian) faith and vision.
Thomas Wallace never thought a chance meeting a party would lead to this. They talked, she laughed, and he fell in love. Marie possessed the classic Mediterranean good looks that have been written about for centuries. Her sensuous brown eyes pierced his soul, and her high cheekbones and silky smooth alabaster skin captured his every thought. Everything should have been perfect. Thomas should have connected her last name with the notorious crime figure Antonio Scarpetta. Marie was the daughter of a powerful and evil man. Thomas Wallace hoped he would get out of this alive.
This heartfelt and wry career memoir from the director of Blood Diamond, The Last Samurai, Legends of the Fall, About Last Night, and Glory, creator of the show Thirtysomething, and executive producer of My So-Called Life, gives a dishy, behind-the-scenes look at working with some of the biggest names in Hollywood"--
With an introduction by Greg Palast, author of bestseller The Best Democracy Money Can Buy, Progressive Hollywood features Rampell?s interviews and interactions with Hollywood luminaries such as producers Jerry Bruckheimer and Robert Greenwald; actors Jack Nicholson, Rob Reiner, Mike Farrell, Ed Asner, Martin Sheen, David Clennon, Gore Vidal and Dennis Hopper; directors Michael Moore, Spike Lee, Oliver Stone and Lionel Chetwynd; blacklisted screenwriters Bernie Gordon (who initiated the 1999 protests against Elia Kazan?s lifetime achievement Oscar), Bobby Lees (who injected dialectical materialism into Abbott and Costello comedies) and Norma Barzman (author of 2003's The Red and the Blacklist).
Film Studies is a concise and indispensable introduction to the formal study of cinema. Ed Sikov offers a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director’s use of camera movement. Film Studies is designed for courses on film history, film theory, and popular culture. Its straightforward explanations of core critical concepts, practical advice, and technical, visual, and aesthetic aspects anchor the reader’s understanding of the formal language and anatomy of film and the techniques of film analysis. The second edition of this best-selling textbook adds two new chapters: “Film and Ideology,” which covers how to read a film’s political and social content, and other key topics in film theory, and “Film Studies in the Age of Digital Cinema,” which explores the central problems of studying film when “film” itself is no longer the medium.
Ed Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.
This is the unfortunate story of a serial killer that could have been avoided. How? By the individual seeking help with his personality disorder. But as the saying goes, "You can see a fly on someone else, but you can't see an elephant on yourself." Stanley, who worked for an insurance company, wanted desperately to advance. A few things stood in his way. He was devoid of a personality that made it difficult to be liked by his fellow workers. He totally lacked any communicative or motivation skills that made his supervisors not consider him as a leader in any sense. Annual cost of living raises, yes; promotions to a leadership position, no. Instead of seeking help, Stanley decided to make his own claim to fame and punish those along the way that had mocked him. He thought of himself as invisible, but placed the blame on all those around him. Put all this together and you have Mr. Cellophane. "They will come to know me and pay dearly for their ignorance in not acknowledging my superiority!" A monster has been turned loose.
Walter Miller and Allene Ray co-starred in ten classic cliffhanger serials produced and released during the late silent era by Pathé, one of the pioneering motion-picture companies. Miller and Ray were an incredibly popular team whose incredibly popular and profitable chapter plays included THE GREEN ARCHER (a 1925 adaptation of Edgar Wallace's best-selling mystery novel), THE HOUSE WITHOUT A KEY (the 1926 serial that introduced Charlie Chan to moviegoers), and THE MAN WITHOUT A FACE (a 1928 mystery-horror hybrid whose grotesquely disfigured villain anticipated a slew of fright-film characters). Working in tandem with chief director Spencer Bennet and their favorite scenarist Frank Leon Smith, Miller and Ray temporarily restored luster to a unique film form that had become tarnished. This monograph exhaustively covers the Miller-Ray phenomenon: author Ed Hulse has seen all surviving footage from their chapter plays, and his account also relies on private correspondence from Frank Leon Smith, interviews with Spencer Bennet, and careful analysis of surviving scripts from their serials. The text is supplemented with dozens of rare photos, including previously unpublished candids taken during production. Fans and students of silent movies will relish Hulse's extensively researched coverage of this unappreciated and largely undocumented phase of film history.
I'll Wait is a memoir of the author's life. The story covers many memories of good times along with some painful times. The one constant in the author's life has been music and throughout the book references are made to popular music of the times of significant occurrences. As is true of many people, the author has found that music can help you celebrate, ease your pain and give you hope when things seem to be at their worst.
The tragic death of his wife drives star reporter Michael Carsagian over the edge. Seeking anonymity and a respite from his grief, he accepts a job on a low-key newspaper on the tranquil Caribbean island of St. Gregory. Slowly and steadily he continues his slide into oblivion and despair. But two seemingly unrelated deaths provide a final chance for redemption. Spurred on by a rekindled pride in his work and the jibes of his vindictive editor, Michael must cautiously make his way through a minefield of Machiavellian politics, casino double-dealing and the black art of voodoo to uncover the truth.
In the late 1980s, Ed McBain got a sore throat - not unusual, except his lasted on-and-off for the next 10 years. However, a few years ago, he was eventually diagnosed with cancer of the larynx, a disease which would eventually rob him of his voice. This is his account of his experiences during those dark days.
A trente-cinq ans, Evan Hunter, déjà auteur d'un roman à succès, " Graine de violence ", se voit confier l'écriture du scénario du nouveau film d'Hitchcock, inspiré d'une nouvelle de " Daphné du Maurier ", " Les Oiseaux ". Passé l'émerveillement à l'idée de travailler avec un réalisateur qu'il admire, Hunter connaît ses premiers désenchantements: difficulté à boucler la version définitive du texte, atermoiements de Hitch, interventions in extremis de " lecteurs critiques " et autres parasites divers. Le baptême du feu est rude. Néanmoins, si cette première collaboration s'achève sur un désaccord majeur entre les deux hommes, Hitch embauche Hunter pour travailler au scénario de son prochain long métrage, " Pas de printemps pour Marnie ". Cette fois, les divergences qui se font jour dès le début seront fatales à l'écrivain... Le récit d'Evan Hunter se révèle fascinant à plus d'un titre. Il nous dépeint. avec un humour toujours caustique, un " Maître du suspense " au naturel, tantôt généreux et émouvant, tantôt capricieux et mesquin. C'est aussi un formidable témoignage de l'intérieur sur la " méthode Hitchcock ". à un moment charnière de la carrière du cinéaste, obsédé par l'idée de tourner à nouveau avec Grace Kelly et désireux enfin d'être reconnu comme un artiste et non comme une raconteur d'histoire. Le texte inédit de Jean-Luc Douin, critique de cinéma au Monde, qui se livre ensuite à un inventaire des thèmes hitchcockiens, est complété par une analyse de Donald Spoto sur " Les Oiseaux " et par quelques correspondances de Hitchcock et d'Evan Hunter. Enfin, Pierre Brévignon, traducteur. commente les rapports ambigus du cinéaste avec les scénaristes de ses films.
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