In this first book in the Rodney Smith Mystery Series, there is a young man displaying sharp intelligence and mental alertness who owns a small town newspaper in Conner, North Carolina. He stays busy working with the chief of police to solve cases that have been cold for a very long time and some of which may never be solved. His hunger for getting to the truth leads him in all directions and has left him baffled for a long time about the case of the disappearance of two young people. No matter where he turns for answers, everything seems to lead to the tree on the hill. Follow along with him as he opens the case that will keep him up nights and take him to the very edge of sanity to solve the case that for years has tortured the minds of those who live in Conner, North Carolina.
Francis Ford Coppola's career has spanned five decades, from low budget films he produced in the early 1960s to more personal films of recent years. Because of the tremendous popular success of The Godfather and the tremendous critical success of its sequel, Coppola is considered to be one of the best directors of all time. The entries in this encyclopedia focus on all aspects of Coppola's work—from his early days with producer Roger Corman to his films as the director of the 1970s. This extensive reference contains material on all of the films Coppola has played a role in, from screenwriter to producer to director, including such classics as Patton, The Godfather, The Conversation, The Godfather Part II, and Apocalypse Now. Each entry is followed by a bibliography of published sources, both in print and online, making The Francis Ford Coppola Encyclopedia the most comprehensive reference on this director's body of work.
Surveys the director's life and career with information on his films, key people in his life, technical information, themes, locations, and film theory.
One of the most celebrated, influential, and widely studied movements in the history of international cinema, the French New Wave has been oversimplified by some scholars as primarily the work of five directors, all former critics for Cahiers du cinema: Truffaut, Godard, Chabrol, Rivette, and Rohmer. Often overlooked in English-language studies of the movement, the films of Jacques Demy help to give us a broader understanding of the New Wave and its avowed rebellion against the "Tradition of Quality," which had dominated French screens in the 1950s. Demy's earliest commercial films (Lola, "La Luxure," and Bay of Angels) fit squarely into the New-Wave aesthetic as outlined by Michel Marie in The French New Wave: An Artistic School (2001); and many of his later films (including Donkey Skin and A Slightly Pregnant Man) continue in that vein, beyond the era normally ascribed to the "New Wave proper." Most importantly, Demy's musical films of the 1960s, The Umbrellas of Cherbourg and The Young Girls of Rochefort , constitute a rapprochement between the New Wave and the "Tradition of Quality," two impulses in French cinema previously regarded as polar opposites. This study relies upon the techniques of neoformalist analysis, as well as some concepts of Brechtian distanciation, to examine Jacques Demy's films vis-a-vis the two traditions.
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