Musical accompaniment were jazzed up renditions that basically fit the art form like a glove with a stylish beat that usually pounded out the action as the story unfolded. The music set the mood and the audiences followed. Most of these films would never reach America during the era, even though they were generally aimed at the American film goers. The Actors who went to Italy and got involved in these lucrative new genre spinoffs all enjoyed star status, recognition and glow of the limelight that came with it. These are the Actors were talking about here.
While the western was a staple of cinema for many decades, the form began to fade as its greatest star, John Wayne, made fewer films of distinction toward the end of his career. In the mid-1960s, the genre was redefined by a handful of directors, including Don Siegel and Italian filmmaker Sergio Leone, who offered something edgier, bloodier, and more violent. Working with both directors was an actor who had made a name for himself on the small screen in the hit western Rawhide. While Clint Eastwood would also star in and direct a number of successes with contemporary settings, his work in westerns represents the most significant part of his film career. In The Clint Eastwood Westerns, James L. Neibaur takes a film-by-film look at each of the superstar’s signature works, from A Fistful of Dollars in 1964 to his modern-day classic Unforgiven, which earned him two Academy Awards, including best director. The author discusses in detail the production, impact, influences, and successes (both critical and commercial) of each film. In addition, Neibaur examines the continued success and influence of these works—how they redefined, challenged, and progressed the western genre. The book also features chapters that look at Eastwood’s other films in the context of his overall career. From the spaghetti westerns he made with Leone, including The Good, the Bad, and the Ugly,to his revisionist look at the Old West in Unforgiven, The Clint Eastwood Westerns shines a spotlight on some of the most thrilling films of the genre. For devotees of Eastwood—the actor or director—or simply fans of the western, this book is an entertaining look at one of Hollywood’s most enduring stars.
A compelling story of place, Steward’s Fork explores northwest California’s magnificent Klamath Mountains—a region that boasts a remarkable biodiversity, a terrain so rugged that significant landscape features are still being discovered there, and a wealth of natural resources that have been used, and more recently abused, by humans for millennia. James K. Agee, a forest ecologist with more than fifty years experience in the Klamaths, provides a multidimensional perspective on this region and asks: how can we most effectively steward this spectacular landscape toward a sustainable future? In an engaging narrative laced with personal anecdotes, he introduces the dynamics of the Klamath’s ecosystems, including its geology and diverse flora and fauna, and then discusses its native cultures and more recent inhabitants, laying out the effects of industries such as logging, mining, water development, and fishing. Assuming that people will continue to have a close tie to the Klamaths, Agee introduces the principles of restoration ecology to offer a vision of how we can responsibly meet the needs of both people and natural organisms, including plants, fish, and wildlife. This debate over the future of the Klamath’s rich landscape widens into a provocative meditation on nature, culture, and our relationship with the earth itself.
For nearly a hundred years, the state of Utah has played host to scores of Hollywood films, from potboilers on lean budgets to some of the most memorable films ever made, including The Searchers, Butch Cassidy and the Sundance Kid, Footloose, and Thelma & Louise. This book gives readers the inside scoop, telling how these films were made, what happened on and off set, and more. As one Utah rancher memorably said to Hollywood moviemakers "don't take anything but pictures and don't leave anything but money.
Beyond the brash modern stereotypes of Essex there exists a landscape that has inspired some of England's finest writing. This book tracks the paths of those literary figures who have ventured into the wilder parts of Essex. Some are illustrious names: Shakespeare, Defoe, John Clare, Joseph Conrad, H. G. Wells, Arthur Ransome. Others may be lesser known but here are well remembered: Samuel Purchas, Sabine Baring-Gould, Margery Allingham, J. A. Baker. In ten chapters James Canton crosses five centuries into the furthest reaches of the county in search of writers and what can be seen of their work today. J. A. Baker follows the peregrines along the Chelmer valley to the Blackwater estuary at Maldon. John Clare wanders the hidden pathways of Epping Forest scribbling poetry while Arthur Ransome sails around the islands of the Hamford Waters. William Shakespeare appears in the woody glades beside Castle Hedingham, Joseph Conrad stares across the Essex marshes at Tilbury to the Thames, while Sabine Baring-Gould's Gothic heroine Mehalah lives upon a lone muddy stretch beside Mersea Island, where Margery Allingham sets her first tale of smuggling and murder; Daniel Defoe recounts the horror of the ague on the Dengie Peninsula; H. G. Wells writes a tale of the First World War from his home at Little Easton. Samuel Purchas tells such seafaring tales from his Southend vicarage as to inspire Samuel Taylor Coleridge to write Kubla Khan. Combining detailed literary detective work with personal responses to landscapes and their meanings, James Canton offers a fresh vision of Essex, its cultural history and its living legacy of wilderness and imagination.
The American city and the American movie industry grew up together in the early decades of the twentieth century, making film an ideal medium through which to better understand urban life. Exploiting the increasing popularity of large metropolitan cities and urban lifestyle, movies chronicled the city and the stories it generated. In this volume, urbanist James A. Clapp explores the reciprocal relationship between the city and the cinema within the dimensions of time and space.A variety of themes and actualizations have been repeated throughout the history of the cinema, including the roles of immigrants, women, small towns, family farms, and suburbia; and urban childhoods, family values, violent crime, politics, and dystopic futures. Clapp examines the different ways in which the city has been characterized as well as how it has been portrayed as a character itself.Some of the films discussed include Metropolis, King Kong, West Side Story, It's a Wonderful Life, American Beauty, Rebel without a Cause, American Graffiti, Blade Runner, Gangs of New York, The Untouchables, LA Confidential, Sunrise, Crash, American History X, Breakfast at Tiffany's, The Deer Hunter, and many more. This work will be enjoyed by urban specialists, moviegoers, and those interested in American, cultural, and film studies.
This book is about the perception of Japan in the sixty films set there by gaijin (foreigners) —outsiders who almost always do not speak or read Japanese. My area of attention is directed to films depicting post World War II Japan and the Japanese, and, in many cases, films showing how foreigners in the same time frame respond to Japan. Why have a substantial number of films been set there by strangers? As a body of work, what do they tell us about contemporary Japan and about cinema? These films certainly provide a new cultural history of the West’s reaction to Japan, but, even more, they are constructions that demonstrate how the West gazes at Japan. As such, more information can often be derived about the onlookers as on those looked-upon. ,
This is the first major book-length study for four decades to examine the plays written by D. H. Lawrence, and the first ever book to give an in-depth analysis of Lawrence's interaction with the theatre industry during the early twentieth century. It connects and examines his performance texts, and explores his reaction to a wide-range of theatre (from the sensation dramas of working-class Eastwood to the ritual performances of the Pueblo people) in order to explain Lawrence's contribution to modern drama. F. R. Leavis influentially labelled the writer 'D. H. Lawrence: Novelist'. But this book foregrounds Lawrence's career as a playwright, exploring unfamiliar contexts and manuscripts, and drawing particular attention to his three most successful works: The Widowing of Mrs Holroyd, The Daughter-in-Law, and A Collier's Friday Night. It examines how Lawrence's novels are suffused with theatrical thinking, revealing how Lawrence's fictions – from his first published work to the last story that he wrote before his death – continually take inspiration from the playhouse. The book also argues that, although Lawrence has sometimes been dismissed as a restrictively naturalistic stage writer, his overall oeuvre shows a consistent concern with theatrical experiment, and manifests affinities with the dramatic thinking of modernist figures including Brecht, Artaud, and Joyce. In a final section, the book includes contributions from influential theatre-makers who have taken their own cue from Lawrence's work, and who have created original work that consciously follows Lawrence in making working-class life central to the public forum of the theatre stage.
The dog in The Wizard of Oz was paid twice as much as some of the actors. Citizen Kane was booed at the Oscars every time one of its nominations were announced. Marlon Brando didn't read the script when he was shooting Apocalypse Now. Instead, he turned it into a hat. Sean Connery turned down the part of Gandalf in Lord of the Rings. He would've been paid $560 million. Goldfinger is the first film to show a laser. Although Hattie McDaniel won an Oscar for Gone with the Wind, she wasn't allowed to go to the premier because she was black. Steven Spielberg thought the themesong for Jaws was so bad, he thought the composer made it as a joke. Groundhog Day takes place over 27 years. All of the Ping-Pong balls in Forrest Gump are computer-generated. In Toy Story, the carpets in Sid's house have the same design as the carpets in The Shining. It took eight years for Christopher Nolan to write Inception. Back to the Future is banned in China because they Chinese find time-travel disrespectful to history.
A longtime industry insider and acclaimed Hollywood historian goes behind the scenes to tell the stories of 15 of the most spectacular movie megaflops of the past 50 years, such as Cleopatra, The Cotton Club, and Waterworld. He recounts, in every gory detail, how enormous hubris, unbridled ambition, artistic hauteur, and bad business sense on the parts of Tinsel Town wheeler-dealers and superstars such as Elizabeth Taylor, Clint Eastwood, and Francis Ford Coppola, conspired to engender some of the worst films ever.
James Leo Garrett Jr. has been called "the last of the gentlemen theologians" and "the dean of Southern Baptist theologians." In The Collected Writings of James Leo Garrett Jr., 1950-2015, the reader will find a truly dazzling collection of works that clearly evince the meticulous scholarship, the even-handed treatment, the biblical fidelity, the wide historical breadth, and the honest sincerity that have made the work and person of James Leo Garrett Jr. so esteemed and revered among so many for so long. This final volume in the series reveals Garrett's sensitive application of his theological studies to various aspects of the Christian life, including the priesthood of all believers, prayer, stewardship, worship, and evangelism. Spanning sixty-five years and touching on topics from Baptist history, theology, ecclesiology, church history and biography, religious liberty, Roman Catholicism, and the Christian life, The Collected Writings of James Leo Garrett, Jr., 1950-2015 will inform and inspire readers regardless of their religious or denominational affiliations.
The authors recount twelve millennia of history along the lower San Juan River, much of it the story of mostly unsuccessful human attempts to make a living from the river's arid and fickle environment. From the Anasazi to government dam builders, from Navajo to Mormon herders and farmers, from scientific explorers to busted miners, the San Juan has attracted more attention and fueled more hopes than such a remote, unpromising, and muddy stream would seem to merit.
Half of all marriages end in divorce--and then there are the really unhappy ones." --Joan Rivers Do you suppose that the person who first said "Life is stranger than fiction" might have had Hollywood marriages in mind? Why watch a romantic film starring a leading man and a leading lady when their real-life romances are so much more interesting? It seems that a celebrity's latest film can have a considerably longer life span in the theater than his or her marriage du jour. One would almost think that Tinseltown has come to embrace divorce as an accepted pastime. Some celebrities have seemingly collected spouses over the years, systematically adding notches in their belts of divorces. Cases in point: Zsa Zsa Gabor (nine), Lana Turner (eight), Elizabeth Taylor (nine), and Mickey Rooney (eight). This list appears to make Jennifer Lopez a mere novice with only three marriages, two divorces, and one terminated engagement to date. In The Hollywood Book of Breakups, James Robert Parish looks at scores of hot Hollywood romances that eventually fell apart. From the decade-long union of Tom Cruise and Nicole Kidman to the "just-for-show" nuptials of Rock Hudson and Phyllis Gates to the four-and-a-half-year marriage of Brad Pitt and Jennifer Aniston to the "other woman" divorce of Debbie Reynolds and Eddie Fisher, Parish covers it all--from the burning embers to the fizzling fires of Hollywood breakups. You couldn't make this stuff up--and James Robert Parish doesn't need to. Hollywood writes its own drama when it comes to scandalous breakups.
Thoroughly revised and updated for 2005! Includes a new chapter on the best special edition DVDs and a new chapter on finding hidden easter egg features.
The time machine in Back to the Future was meant to be a refrigerator. Steve Carell wanted to play the Joker in The Dark Knight. William Wallace was never called Braveheart. Die Hard started off as a sequel to Commando. Aliens were meant to appear in Dr. Strangelove. ET - The Extra-Terrestrial was nearly called A Boy's Life. Blade Runner and Alien take place in the same universe. The line "Play it again, Sam" is never said in Casablanca. Russell Crowe thought his dialogue in Gladiator was "garbage." The shark barely appears in Jaws because it kept malfunctioning. The Lion King is the most successful VHS film ever. Although Viggo Mortensen stars in The Return of the King, he thinks the film is overrated. Orson Welles hated the twist in Citizen Kane. In Star Wars, Han Solo was meant to be a green, gilled, noseless alien. Christopher Walken, Sean Connery, Samuel L. Jackson, and Tommy Lee Jones were considered for the role of Morpheus in The Matrix.
Whether it's the hum drum existence of Marion Crane and her illicit love affair, the psychotic antics of Norman Bates, the sudden irrational migration of birds, a crop duster swooping down on Roger Thornhill in the middle of nowhere, or Vincent Vega and Mia Wallace's unforgettable dance at Jack Rabbit Slim's - they are all cinematic moments that forever changed the psyche and viewing experience of American audiences. Bigger Than Blockbusters: Movies That Defined America tells the stories behind the most significant and influential films in American culture, movies that have had a profound influence on the literary, cinematic and popular culture of our time. Arranged chronologically, the volume gives readers an opportunity to place the films within the context of the social and cultural historic dynamic of the time, making this an ideal source for student papers and reports. Each entry includes the filmmaker, actors, release information, a synopsis of the film, critics' reviews, awards, current availability, and then background on the making of the film in an artistic, economic, and technological context. Spanning all genres, including horror and drama, adventure, comedy, musicals, science fiction, and more, this volume is loaded with enough trivia and factoids to satisfy even the most die-hard movie buff. Also included are other Greatest Films compilations from the National Society of Film Critics and noteworthy sources for comparative purposes. Guaranteed to inspire forays into film favorites as well as some very lively debate, this resource is essential reading for film lovers and students alike.
Christopher Walken nearly played Han Solo. Donald Trump's favorite movie is Citizen Kane. Originally, Aladdin was meant to be Chinese. The title character in ET - The Extra-Terrestrial is called Zreck. Over a million props were used for the film, Ben-Hur. The dog in The Wizard of Oz got paid more than some of the actors. The iconic "BWONG" sound heard in the Inception trailer is never used in the film. In The Lord of the Rings, Aragorn is 87. Mary Poppins didn't coin the word "supercalifragilisticexpialidocious." The ending of Planet of the Apes is completely different in the original novel. Pulp Fiction was nearly called Black Mask. Most of the "snakes" in Raiders of the Lost Ark are actually legless lizards. This Is Spinal Tap is the only film on IMDb that is rated out of 11. Most of the story from The Matrix was stolen from a comic book called The Invisibles.
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