Among the abundant Alfred Hitchcock literature, Hitchcock's Motifs has found a fresh angle. Starting from recurring objects, settings, character-types and events, Michael Walker tracks some forty motifs, themes and clusters across the whole of Hitchcock's oeuvre, including not only all his 52 extant feature films but also representative episodes from his TV series. Connections and deeper inflections that Hitchcock fans may have long sensed or suspected can now be seen for what they are: an intricately spun web of cross-references which gives this unique artist's work the depth, consistency and resonance that justifies Hitchcock's place as probably the best know film director ever. The title, the first book-length study of the subject, can be used as a mini-encyclopaedia of Hitchcock's motifs, but the individual entries also give full attention to the wider social contexts, hidden sources and the sometimes unconscious meanings present in the work and solidly linking it to its time and place.
A tribute to the undisputed master of terror and suspense and the visionary who revolutionised the art of filmmaking, this book covers everything from his 1922 silent film The Pleasure Garden to his final 1976 film, Family Plot, including such masterpieces as Vertigo, Psycho, Rear Window and The Birds, and the years of his popular television show, Alfred Hitchcock Presents. Complete with 450 b/w stills from his many films and a text that examines the background of each production, this is the ultimate portrait of the movie genius in all his cinematic glory.
Among the abundant Alfred Hitchcock literature, Hitchcock's Motifs has found a fresh angle. Starting from recurring objects, settings, character-types and events, Michael Walker tracks some forty motifs, themes and clusters across the whole of Hitchcock's oeuvre, including not only all his 52 extant feature films but also representative episodes from his TV series. Connections and deeper inflections that Hitchcock fans may have long sensed or suspected can now be seen for what they are: an intricately spun web of cross-references which gives this unique artist's work the depth, consistency and resonance that justifies Hitchcock's place as probably the best know film director ever. The title, the first book-length study of the subject, can be used as a mini-encyclopaedia of Hitchcock's motifs, but the individual entries also give full attention to the wider social contexts, hidden sources and the sometimes unconscious meanings present in the work and solidly linking it to its time and place.
The history of crime in American has proven that criminals are often the first to seize upon opportunities presented by new technologies and use them for nefarious purposes. It has also demonstrated that law enforcement groups are quick to respond and use high-tech tools to defend the public safety. This is more true than ever
Kommentierte Bibliografie. Sie gibt Wissenschaftlern, Studierenden und Journalisten zuverlässig Auskunft über rund 6000 internationale Veröffentlichungen zum Thema Film und Medien. Die vorgestellten Rubriken reichen von Nachschlagewerk über Filmgeschichte bis hin zu Fernsehen, Video, Multimedia.
This work is a composite index of the complete runs of all mystery and detective fan magazines that have been published, through 1981. Added to it are indexes of many magazines of related nature. This includes magazines that are primarily oriented to boys' book collecting, the paperbacks, and the pulp magazine hero characters, since these all have a place in the mystery and detective genre.
Written by internationally recognised leaders in the field, Metal Amide Chemistry is the authoritative survey of this important class of compounds, the first since Lappert and Power’s 1980 book “Metal and Metalloid Amides.” An introduction to the topic is followed by in-depth discussions of the amide compounds of: alkali metals alkaline earth metals zinc, cadmium and mercury the transition metals group 3 and lanthanide metals group 13 metals silicon and the group 14 metals group 15 metals the actinide metals Accompanied by a substantial bibliography, this is an essential guide for researchers and advanced students in academia and research working in synthetic organometallic, organic and inorganic chemistry, materials chemistry and catalysis.
Michael Mello, a capital public defender, tells us the stories behind the cases that make up Deathwork, a moment-by-moment, behind-the-scenes look at the life and work of a death row lawyer and his clients.
A provocative study in contemporary sociology and the first full-scale account of Roman Catholic fundamentalism, The Smoke of Satan offers new insight into the Catholic Church and explores the nature of religion in society.
In 1985, tobacco heiress Margaret Benson and two of her children were victims of a car bombing. One year later, her surviving son was sentenced to life imprisonment for the murders. Here is the story of what may have been a travesty of justice resulting in the conviction of an innocent man.
Sports and competition have been film subjects since the dawn of the medium. Olympic sports documentaries have been around nearly as long as the games themselves; films about surfing, boxing, roller derby, motorcycle racing and bodybuilding were theatrical successes during the 1960s and 1970s. The author surveys the history of the sports documentary subgenre, covering more than 100 award-winning films of 40+ different competitions, from traditional team sports to dogsled racing to ballroom dancing.
When someone offered Michael DiPaolo $5,000 to help make a Digital Video horror film, he jumped at the chance to test a theory: an ultra-low budget feature, shot in less than a week, with a paid cast and crew, could be successful if meticulously planned. Using one computer and one camcorder, he produced and edited Daddy, which had its theatrical premier in New York City in 2004. This book breaks down the production through a detailed daily diary, emphasizing that the most important aspects of successful producing are careful planning and camaraderie in the group. The work covers many points important for the low-budget filmmaker, including selecting a story; budgeting; scheduling; picking cast and crew; scouting locations; finding wardrobe, food, and transportation; and what to do if you run out of time or money. Postproduction is also covered (editing, computer work, and sound design), as is the result of all this hard work: screenings, festivals, and distributors. One chapter covers the primacy of cinematic point-of-view, and another profiles some role models for the aspiring low-budget filmmaker: Edgar Ulmer, Val Lewton, Roger Corman, John Cassavetes, Ed Wood, Jr., and Jean-Luc Godard. Later chapters explain strategy and tactics of guerrilla filmmaking and show the budding filmmaker how to recognize both his limitations and his strengths.
This is a comprehensive introduction to post-classical American film. Covering American cinema since 1960, the text looks at both Hollywood and non-mainstream cinema.
The Napkin Manuscripts is a collection of twenty-two engaging prose pieces written over the past several decades by Michael McFee – poet, essayist, editor, and teacher. Taken together, they constitute a wide-ranging exploration of what working writers do, how they do it, and what it means. The book is divided into four parts: Section one is composed of personal essays, and is rooted in the landscape and culture of the Blue Ridge Mountains of North Carolina, where the author grew up and where he often returns for inspiration. Section two gathers essays about the literary life and writing, among them pieces on editing, on teaching, on memorizing poetry, on rejection slips, on typewriters, and on becoming and being a writer. Section three collects seven essays about individual Appalachian writers, among them Fred Chappell, Kathryn Stripling Byer, and Robert Morgan. Section four consists of a public interview conducted at the Michael McFee Literary Festival at Emory & Henry College a few years ago, and recapitulates many of the book’s topics in lively conversational form. The Napkin Manuscripts will appeal to anyone with a connection to Appalachia and the South; to readers interested in contemporary poetry and literature; and to teachers, writers, and students of poetry, essays, and creative non-fiction.
A historical study of the Federal Music Project (FMP) investigates the paradoxical mission of employing popular musicians during the depression and "raising" musical tastes by emphasizing European classical traditions. Bindas (history, Kent State U.) reveals the obvious tensions between FMP leadership and its musicians, particularly the racial and ethnic segregation perpetuated by its policies. However, in an even-handed treatment, the project's successes in bringing music to millions of listeners is also highlighted. Annotation copyright by Book News, Inc., Portland, OR
Many of the stars of the silver screen in twentieth-century Hollywood became national icons, larger-than-life figures held up as paragons of American virtues. Unfortunately, the private lives of actors such as John Wayne, Henry Fonda, and Errol Flynn rarely lived up to the idealistic roles they portrayed. However, James Stewart was known as the underdog fighter in many of his films and in real life. He was highly decorated for his bravery during his time as a bomber pilot during World War II and was adored for his earnest and kindly persona. Here many unknown sides of Stewart are revealed: his explosive temper, his complex love affairs, his service as a secret agent for the FBI, his innate shyness, and his passionate patriotism. Munn’s personal touch shines through his writing, as he was a friend of Stewart and his wife, Gloria, and interviewed them as well as their colleagues and friends. This definitive biography reveals the childhood ups and downs that formed this cinema hero, explores the legendary Fonda–Stewart relationship, and recounts Stewart’s experiences making acclaimed films that include The Philadelphia Story, Rear Window, Anatomy of a Murder, It’s a Wonderful Life, and Mr. Smith Goes to Washington.
Every one of us have watched television shows, movies and listened to our favorite songs but how many of us have wondered how theyve affected and influenced us? Do we still have a fondness for the mediums we enjoyed as a child or do we outgrow the past? As an adult, is it easier or harder to accept the past or embrace the future?
In the 1984 presidential election, only half of the eligible electorate exercised its right to vote. Why does politics no longer excite many--of not most Americans? Michael McGerr attributes the decline in voting in the American North to the transformation of political style after the Civil War. The Decline of Popular Politics vividly recreates a vanished world of democratic ritual and charts its disappearance in the rapid change of industrial society. A century ago, political campaigns meant torchlight parades, spectacular pageants staged by opposing parties, and crowds of citizens attired in military dress or proudly displaying their crafts at well-attended rallies. The intense partisanship of presidential campaigns and party newspapers made political choice easy for people from all walks of life. In the late 1860s and 1870s, however, the rise of liberalism led to a rejection of partisanship by the press and a move towards "educational," rather than spectacular, electioneering. This style then lost out at the turn of the century to the sensational journalism of Joseph Pulitzer and William Randolph Hearst, and the "advertised" campaigning of Mark Hanna and other politicians. McGerr shows how these new developments made it increasingly difficult for many Northerners to link their political impulses with political action. By the 1920s, Northern politics resembled our own public life today. A vital democratic culture had yielded to advertised campaigns, an emphasis on personalities rather than issues or partisanship, and low voter turnout.
Focuses on David Garrick and the leading actors of his company at Drury Lane. This book tells how, in their time, Garrick, Macklin and Woffington were as famous for their achievements on the stage as they were infamous for their activities off it. It draws a selection of the actors' own words with those of their contemporaries and critics.
“The best battlefield first-person compilation I have read . . . Here it all is—the tactics, the movement, the truth about warfare.” —The Civil War Times In Antietam: The Soldiers’ Battle, historian John Michael Priest tells this brutal tale of slaughter from an entirely new point of view: that of the common enlisted man. Concentrating on the days of actual battle—September 16, 17, and 18, 1862—Priest vividly brings to life the fear, the horror, and the profound courage that soldiers displayed, from the first Federal cavalry probe of the Confederate lines to the last skirmish on the streets of Sharpsburg. Antietam is not a book about generals and their grand strategies, but rather concerns men such as the Pennsylvanian corporal who lied to receive the Medal of Honor; the Virginian who lay unattended on the battlefield through most of the second day of fighting, his arm shattered from a Union artillery shell; the Confederate surgeon who wrote to the sweetheart he left behind enemy lines in Harrisburg, Pennsylvania that he had seen so much death and suffering that his “head had whitened and my very soul turned to stone.” Besides being a gripping tale charged with the immediacy of firsthand accounts of the fighting, Antietam also dispels many misconceptions long held by historians and Civil War buffs alike. Seventy-two detailed maps—which describe the battle in the hourly and quarter-hourly formats established by the Cope Maps of 1904—together with rarely-seen photographs and his own intimate knowledge of the Antietam terrain, allow Priest to offer a substantially new interpretation of what actually happened.
The ultimate guide to "Saskatchewan's Great Lake" in an easy-to-use, attractive format. Located within about a two hours' drive of roughly 70% of the province's population, Lake Diefenbaker is a remarkable recreational jewel. The lake itself offers outstanding opportunities for boating, sailing, and other recreational activities, as well as some of the finest sport fishing in the province. Parks and campsites around the lake offer challenging golf courses, excellent trails for hiking and bird-watching, and stunning scenery. Surrounding communities host annual rodeos, festivals, craft fairs, fishing derbies, and ball tournaments; their many museums and theatres celebrate our rich cultural and historical heritage. Lake Diefenbaker: Yours to Discover is an accessible guide book with unique navigational tools. Authors Michael and Anna Clancy visited over thirty communities, as well as seven regional and four provincial parks (with over 1,000 campsites!) located near Lake Diefenbaker. With maps, photographs and detailed descriptions of the attractions and services available at each location, Lake Diefenbaker is the ultimate guide to one of Saskatchewan's premier tourist destinations.
Edges of Noir challenges the notion that noir film nearly vanished after 1958 until its subsequent “neo-noir” revival between 1973 and 1981. The 1960s, regardless of critical neglect, include some of the most provocative films of the post-World War II decades. Often formally disruptive and experimental, films including Shock Corridor (1963), Mirage (1965), The 3rd Voice (1960), and Point Blank (1967) evoke controversial issues of the era, deriving dynamic influences amongst exploitation cinema, sensationalistic American B movies, and the European New Wave movement. Whether the focus is on nuclear destruction, mind control, or surveillance, late noir films, above all else, vividly portray the collective fears from the time.
This book enquires into the problem of various oppositions between pure entities such as nature and society, body and mind, science and the arts, subjectivity and objectivity. It examines how works of literature and cinema have contaminated constructions of the pure and the immune with their purported opposite. As an advanced critical introduction to the figure of contamination, the book makes explicit what so far has remained unarticulated ́82 what has only been implied ́82 within postmodern, poststructuralist and deconstructive theory. Combining theory with literary criticism, the book sheds light on how overlooked aspects of 'the novels of Henry James, Herman Melville and H. G. Wells question notions of natural order as well as an opposition between the subjective and the objective. It offers fresh readings of classic films and literary texts, including Vertigo and Moby Dick, with the aim to ground theoretical insights in close analysis.
“Behind almost every painting is a fortune and behind that a sin or a crime.” With these words as a starting point, Michael Gross, leading chronicler of the American rich, begins the first independent, unauthorized look at the saga of the nation’s greatest museum, the Metropolitan Museum of Art. In this endlessly entertaining follow-up to his bestselling social history 740 Park, Gross pulls back the shades of secrecy that have long shrouded the upper class’s cultural and philanthropic ambitions and maneuvers. And he paints a revealing portrait of a previously hidden face of American wealth and power. The Metropolitan, Gross writes, “is a huge alchemical experiment, turning the worst of man’s attributes—extravagance, lust, gluttony, acquisitiveness, envy, avarice, greed, egotism, and pride—into the very best, transmuting deadly sins into priceless treasure.” The book covers the entire 138-year history of the Met, focusing on the museum’s most colorful characters. Opening with the lame-duck director Philippe de Montebello, the museum’s longest-serving leader who finally stepped down in 2008, Rogues’ Gallery then goes back to the very beginning, highlighting, among many others: the first director, Luigi Palma di Cesnola, an Italian-born epic phony, whose legacy is a trove of plundered ancient relics, some of which remain on display today; John Pierpont Morgan, the greatest capitalist and art collector of his day, who turned the museum from the plaything of a handful of rich amateurs into a professional operation dedicated, sort of, to the public good; John D. Rockefeller Jr., who never served the Met in any official capacity but who, during the Great Depression, proved the only man willing and rich enough to be its benefactor, which made him its behind-the-scenes puppeteer; the controversial Thomas Hoving, whose tenure as director during the sixties and seventies revolutionized museums around the world but left the Met in chaos; and Jane Engelhard and Annette de la Renta, a mother-daughter trustee tag team whose stories will astonish you (think Casablanca rewritten by Edith Wharton). With a supporting cast that includes artists, forgers, and looters, financial geniuses and scoundrels, museum officers (like its chairman Arthur Amory Houghton, head of Corning Glass, who once ripped apart a priceless and ancient Islamic book in order to sell it off piecemeal), trustees (like Jayne Wrightsman, the Hollywood party girl turned society grand dame), curators (like the aging Dietrich von Bothmer, a refugee from Nazi Germany with a Bronze Star for heroism whose greatest acquisitions turned out to be looted), and donors (like Irwin Untermyer, whose collecting obsession drove his wife and children to suicide), and with cameo appearances by everyone from Vogue editors Anna Wintour and Diana Vreeland to Sex Pistols front man Johnny Rotten, Rogues’ Gallery is a rich, satisfying, alternately hilarious and horrifying look at America’s upper class, and what is perhaps its greatest creation.
The bizarre and often humorous creations of René Magritte, Joan Mir&ó, Salvador Dal&í, and other surrealists are showcased in this activity guide for young artists. Foremost among the surrealists, Salvador Dal&í was a painter, filmmaker, designer, performance artist, and eccentric self-promoter. His famous icons, including the melting watches, double images, and everyday objects set in odd contexts, helped to define the way people view reality and encourage children to view the world in new ways. Dal&í's controversial life is explored while children trace the roots of some familiar modern images. These wild and wonderful activities include making Man Ray&–inspired solar prints, filming a Dali-esque dreamscape video, writing surrealist poetry, making collages, and assembling art with found objects.
Documents the nearly two-decade manhunt for a serial bomber in mid-twentieth-century New York, citing the contributions of police captain Howard Finney and psychiatrist James Brussel in developing investigative techniques that would shape new approaches in American law enforcement.
A virtuoso performance. In this work of vastly erudite cultural imagination, Long both dazzles and illuminates. He has fashioned, in elegant prose, a thrilling mosaic of critical interpretation, one that is assured a central place on the leading edge of music scholarship."--Albin Zak, author of The Poetics of Rock: Cutting Tracks Making Records
From the proto-cinematic sequencing of animal motion in the nineteenth century to the ubiquity of animal videos online, the histories of animal life and the moving image are enigmatically interlocked. Animal Life and the Moving Image is the first collection of essays to offer a sustained focus on the relations between screen cultures and non-human animals. The volume brings together some of the most important and influential writers working on the non-human animal's significance for cultures and theories of the moving image. It offers innovative analyses of the representation of animals across a wide range of documentary, fiction, mainstream and avant-garde practices, from early cinema to contemporary user-generated media. Individual chapters consider King Kong, The Birds, The Misfits, The Cove, Grizzly Man and Microcosmos, the work of Sergei Eisenstein, Robert Bresson, Malcolm Le Grice, Peter Greenaway, Carolee Schneemann and Isabella Rossellini, and YouTube stars Christian the lion and Maru the cat.
Cormac McCarthy told an interviewer for the New York Times Magazine that "books are made out of books," but he has been famously unwilling to discuss how his own writing draws on the works of other writers. Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy is well aware of literary tradition, respectful of the canon, and deliberately situating himself in a knowing relationship to precursors. The Wittliff Collection at Texas State University acquired McCarthy's literary archive in 2007. In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines the archive to identify nearly 150 writers and thinkers that McCarthy himself references in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy's published works, the unpublished screenplay Whales and Men, and McCarthy's correspondence. For each work, Crews identifies the authors, artists, or other cultural figures that McCarthy references; gives the source of the reference in McCarthy's papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy's literary influences—impossible to undertake before the opening of the archive—vastly expands our understanding of how one of America's foremost authors has engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.
Let the water under the sky be gathered into one place. Let dry ground appear." And That's exactly what happened. God called the dry ground "land." -Genesis 1:9 (NIrV) In Rocks & Plants, kids explore the physical world, examing the often overlooked details of planet Earth, and leaning about some of the wonders that lie hidden just above and beneath its surface. Exploding volcanoes that birth small islands, plants that save lives, floods that carve out cliffs and caves, the recycling of our atmosphere-and much, much more-are investigated in kid-friendly language and concepts. Add drawings, photos, and fun facts, and young scientists see that the awesome power and splendor of God is echoed in Earth's fossils, stones, and mountains.
Originally released as a videographic experiment in film history, Jean-Luc Godard's Histoire(s) du cinéma has pioneered how we think about and narrate cinema history, and in how history is taught through cinema. In this stunningly illustrated volume, Michael Witt explores Godard's landmark work as both a specimen of an artist's vision and a philosophical statement on the history of film. Witt contextualizes Godard's theories and approaches to historiography and provides a guide to the wide-ranging cinematic, aesthetic, and cultural forces that shaped Godard's groundbreaking ideas on the history of cinema.
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