This is the story of a young priest in the tiny French village of St. Pierre-des-Monts who receives a telephone call from God warning that he is about to destroy mankind with a second great flood. Only Father Benoir and his misfit flock will be saved, but they must hurry, said God, and build an ark like Noah's. AFTER ME, THE DELUGE is an outrageous, irreverent comedy which inspired one of Italy's longest running stage musicals which has been seen by over fifteen million people since it's debut in 1974.
Five frightfully British children's nannies find themselves tasked with pulling off the most extraordinary theft of all time - they must steal the gigantic, 200-million-year-old skeleton of a brontosaurus from the American Museum of Natural History in New York. Why? Hidden somewhere in the skeleton is a microdot containing Chinese military secrets that could be vital to the survival of the British Empire. And they aren't the only ones looking for the stolen secrets. Chinese spies and American counter-espionage agents both have a bone to pick with Nannie Hettie and her cohorts. The Great Dinosaur Robbery is a British comedy classic that inpired the Disney film One of Our Dinosaurs is Missing starring Peter Ustinov.
What is it like to pose in the nude, the only one undressed, before an intensely observant audience? Thirty female and five male fine arts models tell their surprising experience. Who are these people? What can they tell us about the emotions of being examined, by and artist, a lover, or a doctor? Beyond Eden invites your curiosity. David Forrest has uncovered universal human truths in his studies of Vietnamese child-rearing and gambling addiction. Now he does the same in a warmly lyrical but also coolly analytic study of people who uncover themselves--i.e., the men and women who pose in the nude for artists and students of figure drawing. What he finds is a mystery of what is revealed and what hidden when we remove our outer garments, the state in which we entered the world, and in which we find ourselves most vulnerable to love, hate, and everything in between. --Martha Bayles, Boston University Columnist, The Wall Street Journal and Boston Globe; Author of Through a Screen Darkly: Popular Culture, Public Diplomacy and America's Image Abroad The intent of David Forrest's watercolor sketches of the models is not to display anatomy for the sake of anatomy, but to understand their underlying character. His contemporary objective, which I share in part, is not to be a mirror but to discover the emotional strength without self-deception that we have in direct visual contact with reality. From the earliest cave art, we see this modern aim to show the emotion in the subject. ---Alex Gamberg, Russian emigrE artist and illustrator, School of Sergei Orlov By picture and interview, David Forrest draws sensitive portraits of the fascinating and misunderstood women and men who are the subjects of Figurative artists. His watercolor sketches, created in minutes, are reminiscent of Chan painting. With an uncorrected brush, he creates empathic, convincing images of his subjects, whom he has freely encouraged to paint themselves in words. --Nancy C. Blume, Head of Arts Education, Asia Society Museum With an artist's keen eye, the author enters the mysterious private spaces of the silent models of fine artists, and accords them the ultimate respect of speaking for themselves. --Eric Fowler, Collections Manager, Society of Illustrators Which makes the book so especially rewarding: wonderful, illuminating, and compelling stories--and wonderful, sensitive drawings by--a psychoanalyst who happens also to be a fine artist? Or--is he a fine artist who happens also to be a psychoanalyst? I leave it to the reader, having read and seen this superb and unusual book, to decide. --Michael C. Stone, M.D., Professor of Clinical Psychiatry, Columbia University Author of The Anatomy of Evil and The Borderline Syndromes This unique and often quite beautiful book of portraits and interviews broaches a topic surprisingly absent from most medical school curricula: intimacy. The provocative issues raised by Dr. Forrest would profitably be addressed by physicians who, after all, have the rare opportunity both to see their patients' bodies and hear their innermost thoughts. --Barron Lerner, M.D., Professor of Medicine, New York University School of Medicine, Author of The Good Doctor: A Father, a Son and the Evolution of Medicine
Ken Loach's 1969 drama Kes, considered one of the finest examples of British social realism, tells the story of Billy, a working class boy who finds escape and meaning when he takes a fledgling kestrel from its nest. David Forrest's study of the film examines the genesis of the original novel, Barry Hines' A Kestrel for a Knave (1968), the eventual collaboration that brought it to the screen, and the film's funding and production processes. He provides an in depth analysis of key scenes and draws on archival sources to shed new light on the film's most celebrated moments. He goes on to consider the film's lasting legacy, having influenced films like Ratcatcher (1999) and This is England (2006), both in terms of its contribution to film history and as a document of political and cultural value. He makes a case for the film's renewed relevance in our present era of systemic economic (and regional) inequality, alienated labour, increasingly narrow educational systems, toxic masculinity, and ecological crisis. Kes endures, he argues, because it points towards the possibility for emancipation and fulfilment through a more responsive and nurturing approach to education, a more delicate and symbiotic relationship with landscape and the non-human, and an emotional articulacy and sensitivity shorn of the rigid expectations of gender.
Foul Rock is a tiny speck only seventy meters wide and one hundred and forty meters long, just off the coast of England. When he first sets foot on his inheritance, Albert quickly realises that there is absolutely nothing there, nothing except for the frequent presence of Victoria, a very attractive young girl in search of a suntan. Just as the two are getting to know each other better, a Russian trawler (spy ship) runs aground on the Island. The other side of the Island is soon occupied by the United States Marines and Victoria and Albert find themselves caught up in a precarious and hilarious Cold War stand off. And to My Nephew Albert...is a classic satire from the author(s) of The Great Dinosaur Robbery and After Me, The Deluge.
Terror can have such simple beginnings -- a child's letter to Father Christmas...a pretty girl glimpsed in a London street...a trip down the Brighton Road...a night spent in an empty mansion for a bet? And the consequences can be fearsome, as the unsleeping dead walk again, as strange emotions stir inanimate things to murderous life, as horrors beyond our imagining cross the threshold into our world; can anyone be sure that all is as it seems. After you read these thirteen tales of terror, can you?
Joyride" is a heartwarming memoir of how a young man reconnects with his journalist mother both before and after her death through the archives of her weekly newspaper columns. Author Craig Forrest's life in print began when he was only five years old. His mother, Libby, wrote a humor column in the local newspaper in America's oldest seashore resort town, Cape May, New Jersey. Craig and his brother, Keith, became frequent subjects of their mother's Erma Bombeck-like writings. Their mother's other topics came from the news she gathered while riding around the shore on her three-wheeled bicycle. Her column, appropriately titled "Joyride," featured useful insights, humorous encounters, and the wit and wisdom that comes from living each day and raising a family. As he grew up, Craig learned more about his mother by rereading her work. When he returned home to care for Libby in the final ravages of Lou Gehrig's disease, Craig spent the evenings reliving his childhood through her columns. Thewritings comforted him as he watched his mother waste away, and gave him the strength he needed to come to grips with the possibility of his own death from Hodgkin's disease. "Joyride" is an inspirational memoir and a loving tribute by a son to his mother--a poignant story reminiscent of "Tuesdays with Morrie" and "The Color of Water.
The tradition of British realism has changed dramatically over the last 20 years, where films by directors such as Duane Hopkins, Joanna Hogg, Andrea Arnold, Shane Meadows and Clio Barnard have suggested a markedly poetic turn. This new realism rejects the instrumentalism and didacticism of filmmakers like Ken Loach in favour of lyrical and often ambiguous encounters with place, where the physical processes of lived experience interacts with the rhythms of everyday life. Taking these 5 filmmakers as case studies, this book seeks to explore in depth this new tradition of British cinema - and in the process, it reignites debates over realism that have concerned scholars for decades.
Reception studies have made film audiences increasingly visible, while surveys track trends and policymakers gather information about audience preferences and demographics. But little attention has been paid to the specific contextual relationships and interactions between films and individuals that generate and sustain audiences. This monograph develops the idea of audiences as interactive and relational, introducing three innovative concepts: ‘personal film journeys’, five types of audience formations and five geographies of film provision. A major challenge of audience research is how to capture the richness of people’s social and cultural engagement with film. To achieve this, the book uses an innovative mixed-methods research and computational ontology. It develops ground-breaking theory and concepts and an innovative methodology based on an extensive data-set derived from the under-researched area of British regional film audiences.
This book presents a radical reappraisal of one of the most persistent and misunderstood aspects of British cinema: social realism. Through means of close textual analysis, David Forrest advances the case that social realism has provided British national culture with a consistent and distinctive art cinema, arguing that a theoretical re-assessment of the mode can enable it to be located within the context of broader traditions of global cinema. The book begins with the documentary movement and British wartime cinema, before moving to the British new wave and social problem cycle; the films of Ken Loach; the films of Mike Leigh; realism in the 1980s, specifically the work of Stephen Frears and Alan Clarke; before concluding with a discussion of contemporary realist cinema, specifically the work of Shane Meadows, Andrea Arnold and other recent exponents of the mode. These case studies give a thorough platform to explore the most prominent and diverse examples of realist practice in Britain over the last 80 years. The construction and critical analysis of this ‘social realist canon’ creates the conditions to reassess and look anew at this most British of cinematic traditions.
Ken Loach's 1969 drama Kes, considered one of the finest examples of British social realism, tells the story of Billy, a working class boy who finds escape and meaning when he takes a fledgling kestrel from its nest. David Forrest's study of the film examines the genesis of the original novel, Barry Hines' A Kestrel for a Knave (1968), the eventual collaboration that brought it to the screen, and the film's funding and production processes. He provides an in depth analysis of key scenes and draws on archival sources to shed new light on the film's most celebrated moments. He goes on to consider the film's lasting legacy, having influenced films like Ratcatcher (1999) and This is England (2006), both in terms of its contribution to film history and as a document of political and cultural value. He makes a case for the film's renewed relevance in our present era of systemic economic (and regional) inequality, alienated labour, increasingly narrow educational systems, toxic masculinity, and ecological crisis. Kes endures, he argues, because it points towards the possibility for emancipation and fulfilment through a more responsive and nurturing approach to education, a more delicate and symbiotic relationship with landscape and the non-human, and an emotional articulacy and sensitivity shorn of the rigid expectations of gender.
Barry Hines’s novel A Kestrel for a Knave, adapted for the screen as Kes, is one of the best-known and well-loved novels of the post-war period, while his screenplay for the television drama Threads is central to a Cold War-era vision of nuclear attack. But Hines published a further eight novels and nine screenplays between the 1960s and 1990s, as well as writing eleven other works which remain unpublished and unperformed. This study examines the entirety of Hines’s work. It argues that he used a great variety of aesthetic forms to represent the lives of working-class people in Britain during the 1960s, 1970s, 1980s and into the post-industrial conclusion of the twentieth century. It also makes the case that, as well as his literary flair for poetic realism, Hines’s authorial contributions to the films of his novels show the profoundly collaborative nature of these works.
Terror can have such simple beginnings -- a child's letter to Father Christmas...a pretty girl glimpsed in a London street...a trip down the Brighton Road...a night spent in an empty mansion for a bet? And the consequences can be fearsome, as the unsleeping dead walk again, as strange emotions stir inanimate things to murderous life, as horrors beyond our imagining cross the threshold into our world; can anyone be sure that all is as it seems. After you read these thirteen tales of terror, can you?
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