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CINEMA

"I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians." Francis Ford Coppola

"A filmmaker is a man like any other; and yet his life is not the same. . . . This is, I think, a special way of being in contact with reality." Or so says Michelangelo Antonioni, the legendary filmmaker behind the stark landscapes and social alienation of Blow-Up and L'Avventura, who here reveals his idiosyncratic relationship with reality in The Architecture of Vision.
Through autobiographical sketches, theoretical essays, interviews, and conversations with such luminaries as Jean-Luc Godard and Alberto Moravia, this compelling volume explores the director's unique brand of narrative-defying cinema as well as the motivations and anxieties of the man behind the camera.
"The Architecture of Vision provides a filmmaker's absorbing reflections and insights on his career. . . . Antonioni's comments . . . deepen and humanize a sometimes cerebral book."--Publishers Weekly

" Antonioni's] erudition is astonishing . . . few of his peers can match his verbal articulateness."--Film Quarterly

"This valuable resource offers entree to material difficult to gain access to under other circumstances."--Library Journal
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The Architecture of Vision: Writings and Interviews on Cinema
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Cinema 2 the Time-Image
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This major artistic biography of Federico Fellini shows how his exuberant imagination has been shaped by popular culture, literature, and his encounter with the ideas of C. G. Jung, especially Jungian dream interpretation. Covering Fellini's entire career, the book links his mature accomplishments to his first employment as a cartoonist, gagman, and sketch-artist during the Fascist era and his development as a leading neo-realist scriptwriter. Peter Bondanella thoroughly explores key Fellinian themes to reveal the director's growth not only as an artistic master of the visual image but also as an astute interpreter of culture and politics. Throughout the book Bondanella draws on a new archive of several dozen manuscripts, obtained from Fellini and his scriptwriters. These previously unexamined documents allow a comprehensive treatment of Fellini's important part in the rise of Italian neorealism and the even more decisive role that he played in the evolution of Italian cinema beyond neorealism in the 1950s. By probing Fellini's recurring themes, Bondanella reinterprets the visual qualities of the director's body of work--and also discloses in the films a critical and intellectual vitality often hidden by Fellini's reputation as a storyteller and entertainer. After two chapters on Fellini's precinematic career, the book covers all the films to date in analytical chapters arranged by topic: Fellini and his growth beyond his neorealist apprenticeship, dreams and metacinema, literature and cinema, Fellini and politics, Fellini and the image of women, and La voce della luna and the cinema of poetry.

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The Cinema of Federico Fellini
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Greek film director Theo Angelopoulos is one of the most influential and widely respected filmmakers in the world today, yet his films are still largely unknown to the American public. In the first book in English to focus on Angelopoulos's unique cinematic vision, Andrew Horton provides an illuminating contextual study that attempts to demonstrate the quintessentially Greek nature of the director's work. Horton situates the director in the context of over 3,000 years of Greek culture and history. Somewhat like Andrei Tarkovsky in Russia or Antonioni in Italy, Angelopoulos has used cinema to explore the history and individual identities of his culture. With such far-reaching influences as Greek myth, ancient tragedy and epic, Byzantine iconography and ceremony, Greek and Balkan history, modern Greek pop culture including bouzouki music, shadow puppet theater, and the Greek music hall tradition, Angelopoulos emerges as an original "thinker" with the camera, and a distinctive director who is bound to make a lasting contribution to the art form.


In a series of films including The Travelling Players, Voyage to Cythera, Landscape in the Mist, The Suspended Step of the Stork, and most recently in Ulysses' Gaze starring Harvey Keitel (winner of the 1995 Cannes Film Festival Grand Prix), Angelopoulos has developed a remarkable cinematic style, characterized by carefully composed scenes and an enormous number of extended long shots. In an age of ever decreasing attention spans, Angelopoulos offers a cinema of contemplation.

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The Films of Theo Angelopoulos: A Cinema of Contemplation
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Originally published in Paris, this is a collection of Hollywood's darkest and best kept secrets from the pen of Kenneth Anger, a former child movie actor who grew up to become one of America's leading underground film-makers.
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Hollywood Babylon: The Legendary Underground Classic of Hollywood's Darkest and Best Kept Secrets
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Andrey Tarkovsky, the genius of modern Russian cinema--hailed by Ingmar Bergman as "the most important director of our time"--died an exile in Paris in December 1986. In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.

In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

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Sculpting in Time: Reflections on the Cinema
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The Das Kapital of the 20th century. An essential text, and the main theoretical work of the situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's up to
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Society of the Spectacle
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Accessible and original analysis of all Jean Renoir's sound films, including those he made in Hollywood - this is the first major study to appear for a number of years and brings new light on some of the director's most celebrated films. Illuminating account of critical debates concerning Renoir, and focusing on hitherto neglected areas such as gender, nation and ethnicity the book asks us to rethink our understanding of Renoir's political commitment. Traces his output from the silent period to the age of television, tying his work into a fast-shifting, socio-historical context. Detailed analyses of his sound films map his evolving style while individual chapters cover Renoir's career and writings, critical debates, the silent and early sound films, the Popular Front period, Renoir americain and the later films.
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Jean Renoir
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Leni Riefenstahl achieved fame as a dancer, actress, photographer and director, but her entire career is coloured by her association with the Nazis. Using original documentation, this book looks at Riefenstahl's life, work and politics.
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Leni Riefenstahl: The Seduction of Genius
$55.00
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This volume provides a concise overview of the career of one of the modern masters of world cinema. Jesse Kalin defines Bergman's conception of the human condition as a struggle to find meaning in life as it is played out. For Bergman, meaning is achieved independently of any moral absolute and is the result of a process of self-examination. Six existential themes are explored repeatedly in Bergman's films: judgment, abandonment, suffering, shame, a visionary picture, and above all, turning toward or away from others. Kalin examines how Bergman examines these themes cinematically, through close analysis of eight films: well known favorites such as Wild Strawberries, The Seventh Seal, Smiles of a Summer Night, and Fanny and Alexander; and important but lesser known works, such as Naked Night, Shame, Cries and Whispers, and Scenes from a Marriage.
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The Films of Ingmar Bergman
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Sam Fuller was a prolific director & writer, who made 29 movies between 1949 & 1989, & wrote 11 novels. His tough, all-action movies included 'Merrill's Marauders', 'The Big Red One' and the controversial ' White Dog'.
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A Third Face: My Tale of Writing, Fighting, and Filmmaking
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Although Robert Bresson is widely regarded by movie critics and students of the cinema as one of the greatest directors of the twentieth century, his films are largely unknown and are rarely shown in the English-speaking world. Nonetheless, Susan Sontag has called Bresson "the master of the reflective mode in film."Martin Scorsese suggested that a young filmmaker should ask: "Is it as tough as Bresson?... Is meaning] as ruthlessly pared down, as direct, as unflinching in its gaze at aspects of life I might feel more comfortable ignoring?" Questions that every reader of this book and every viewer of Bresson's films will also ask.Joseph Cunneen's book, now in paperback, introduces Bresson's movies to a broader audience, assesses thirteen of his most significant films in the context of detailed plot summaries, vivid descriptions of characters and settings, and perceptive, jargon-free insights into the director's execution, intention, and technique. Each of these films in its own way illustrates what Joseph Cunneen calls Bresson's "spiritual style." Though not necessarily focused on the explicitly religious, they illustrate two complementary principles: on the negative side, the rejection of what the director called "photographed theater" with its artificiality and dependence on celebrity performers. On the more positive side, as Bresson himself expressed it, the conviction that, "The supernatural is only the real rendered more precise; real things seen close up."
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Robert Bresson: A Spiritual Style in Film
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"Supple and sophisticated, Francois Truffaut and Friends tells an affecting story--several stories--and does so with verve."--Dudley Andrew, Professor of Comparative Literature and Film Studies, Yale University "An original and fascinating study that spins out from Truffaut's Jules and Jim to explore the world of literature, film, and avant-garde sexuality."--James Naremore, author of More Than Night: Film Noir and Its Contexts "A fascinating study. It won't be possible to watch Jules and Jim again without thinking of the complex layers of lived and imagined life that feed into Truffaut's classic film."--Annette Insdorf, author of Francois Truffaut One of Francois Truffaut's most poignantly memorable films, Jules and Jim, adapted a novel by the French writer Henri-Pierre Roche. The characters and events of the 1962 film were based on a real-life romantic triangle, begun in the summer of 1920, that involved Roche, the German-Jewish writer Franz Hessel, and his wife, the journalist Helen Grund. Drawing on Truffaut's Jules and Jim, Two English Girls, and The Man Who Loved Women, along with the various memoirs, journals, and novels written by the prototypes, Robert Stam provides the first in-depth examination of the multifaceted relationship between Truffaut and Roche. In the process, he provides a unique lens through which to examine transtextual adaptation across various genres and media. Truffaut's use of Roche's work, Stam suggests, demonstrates how adaptations can be more than simply copies of their originals; rather, they can be an immensely creative enterprise. The book moves beyond Truffaut's films to explore the intertwined lives and works of other famous artist/intellectual friends of the threesome, including Marcel Duchamp, Walter Benjamin, and Charlotte Wolff. Along the way, the book explores the aesthetics of flanerie, the sexual politics of bohemia, and the ethics of anti-semitism and homoeroticism. Robert Stam is University Professor at New York University. He has published widely on French and comparative literature, film, and theory.
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Francois Truffaut and Friends: Modernism, Sexuality, and Film Adaptation
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"These delightful stories do that essential-but-rare story thing: they surprise. They skip past the quotidian, the merely real, to the essential, and do so with a spirit of tenderness and wonder that is wholly unique. They are (let me coin a phrase) July-esque, which is to say: infused with wonder at the things of the world." --George Saunders, author of Tenth of December

Award-winning filmmaker and performing artist Miranda July brings her extraordinary talents to the page in a startling, sexy, and tender collection. In these stories, July gives the most seemingly insignificant moments a sly potency. A benign encounter, a misunderstanding, a shy revelation can reconfigure the world. Her characters engage awkwardly--they are sometimes too remote, sometimes too intimate. With great compassion and generosity, July reveals their idiosyncrasies and the odd logic and longing that govern their lives. No One Belongs Here More Than You is a stunning debut, the work of a writer with a spectacularly original and compelling voice.

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No One Belongs Here More Than You
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Werner Herzog is renowned for pushing the boundaries of conventional cinema, especially those between the fictional and the factual, the fantastic and the real. The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth is the first study in twenty years devoted entirely to an analysis of Herzog's work. It explores the director's continuing search for what he has described as 'ecstatic truth, ' drawing on over thirty-five films, from the epics Aguirre: Wrath of God (1972) and Fitzcarraldo (1982) to innovative documentaries like Fata Morgana (1971), Lessons of Darkness (1992), and Grizzly Man (2005). Special attention is paid to Herzog's signature style of cinematic composition, his "romantic" influences, and his fascination with madmen, colonialism, and war.
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The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth
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Alfred Hitchcock's career spanned more than five decades, during which he directed more than 50 films, many of them indisputable classics: Notorious, Strangers on a Train, Rear Window, Vertigo, North by Northwest, and Psycho, among others. In A Year of Hitchcock: 52 Weeks with the Master of Suspense, authors Jim McDevitt and Eric San Juan provide a comprehensive examination of Hitchcock's film-to-film development, spanning from the beginning of his career in silents to his final film in 1976, including his work on two French propaganda shorts he directed during World War II and segments he directed for Alfred Hitchcock Presents. Organized into 52 chapters and arranged in chronological order, the book invites readers to spend a year with the director's most notable works, all of which are available on DVD. Each film is examined in the context of Hitchcock's career, as the authors consider the themes central to his work; discuss each film's production; comment on the cast, script, and other aspects of the film; and assess the film's value to the Hitchcock viewer. From The Lodger to Family Plot, 68 works directed by Hitchcock are analyzed. Each analysis is supplemented by key film facts, trivia, awards, a guide to his cameos, a filmography, and a listing of available DVD releases. Whether readers decide to undertake the journey through his films one week at a time or pick and choose at their discretion, A Year of Hitchcock will open the eyes of any viewer who wants to better understand this director's evolution as an artist.
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A Year of Hitchcock: 52 Weeks with the Master of Suspense
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In a memoir by turns moving, tragic, and hilarious, Jerry Lewis recounts with crystal clarity every step of his fifty-year friendship with Dean Martin.

They were the unlikeliest of pairs--a handsome crooner and a skinny monkey, an Italian from Steubenville, Ohio, and a Jew from Newark, N.J.. Before they teamed up, Dean Martin seemed destined for a mediocre career as a nightclub singer, and Jerry Lewis was dressing up as Carmen Miranda and miming records on stage. But the moment they got together, something clicked--something miraculous--and audiences saw it at once.

Before long, they were as big as Elvis or the Beatles would be after them, creating hysteria wherever they went and grabbing an unprecedented hold over every entertainment outlet of the era: radio, television, movies, stage shows, and nightclubs. Martin and Lewis were a national craze, an American institution. The millions flowed in, seemingly without end--and then, on July 24, 1956, ten years after it all started, it ended suddenly. After that traumatic day, the two wouldn't speak again for twenty years. And while both went on to forge triumphant individual careers--Martin as a movie and television star, recording artist, and nightclub luminary (and charter member of the Rat Pack); Lewis as the groundbreaking writer, producer, director, and star of a series of hugely successful movie comedies--their parting left a hole in the national psyche, as well as in each man's heart.

In Dean & Me, Lewis makes a convincing case for Martin as one of the great--and most underrated--comic talents of our era. But what comes across most powerfully in this definitive memoir is the depth of love Lewis felt for his partner, and which his partner felt for him: truly a love to last for all time.

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Dean and Me: A Love Story
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This impressive anthology reflects the diversity of every issue of the magazine: historicals and police procedurals, cozies and noirs, humor and suspense. From Jim Thompson in the fifties and Donald Westlake in the sixties, to recent stories by S. J. Rozan, Martin Limon, and Rhys Bowen, this anthology documents over a half century of superb storytelling.
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Alfred Hitchcock's Mystery Magazine Presents Fifty Years of Crime and Suspense
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England's most controversial filmmaker and director, Derek Jarman was also a gifted writer, artist, gardener, designer, and an outspoken AIDS and queer rights activist. Jarman's story stretches from his childhood in postwar Britain to art school days at the Slade School of Art and the making of many acclaimed films, including Sebastiane, Jubilee, Caravaggio, and Blue.
A chronicle of sexual fear and repression, the devastation of disease, and inimitable courage and grace, Derek Jarman: A Biography is an honest and brilliant tribute to the uncompromising life and art of Derek Jarman.
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Derek Jarman: A Biography
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One acclaimed filmmaker takes the measure of another! Murphy s candid and richly personal account of Andy Warhol s filmmaking is a brilliant contribution to our understanding of one of cinema s most original and prolific masters, exploring the artist's multiple forms of psychodrama with a filmmaker s insight and attention to detail. As more and more of the restored Warhol films become available, this book will remain an indispensable handbook for film historians and general moviegoers alikeespecially because it is such a genuine pleasure to read."David E. James, author of "The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles."
Those of us who care about independent cinema have always struggled with Andy Warhol s massive oeuvre. At long last J.J. Murphy, who has spent a lifetime making contributions to independent cinema, has undertaken the Herculean task of helping us understand Warhol s development as a filmmaker. Murphy s precision, stamina, and passion are evident in this examination of an immense body of workas is his ability to report what he has discovered in a readable and informative manner. "The Black Hole of the Camera" helps us to re-conceptualize Warhol s films not simply as mythic pranks, but as the diverse creations of a prolific and inventive film artist. Scott MacDonald, author of "A Critical Cinema: Interviews with Independent Filmmakers" (5 vols.).
"In his careful firsthand study of Andy Warhol s films, J. J. Murphy contributes to the ongoing revision of the enduring but misplaced perceptions of Warhol as a passive, remote, and one-dimensional artist. Murphy's discussions of authorship, the relation of content to form, the role of "dramatic conflict, and the complexity of Warhol s camera work show these perceptions to be stubborn myths. "The Black Hole of the Camera "offers a clear sense of the nuances of Warhol s fascinating, prolific, and influential activities in filmmaking."Reva Wolf, author of "Andy Warhol, Poetry, and Gossip in the 1960s.""
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The Black Hole of the Camera: The Films of Andy Warhol
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Low Budget Hell Making Underground Movies with John Waters
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When Alan Greenberg first showed up at Werner Herzog s Munich home at age twenty-four, he was, according to the director, the first outsider to seek him and recognize his greatness. At the end of their first evening together, Herzog urged Greenberg to work with him on his film "Heart of Glass" and everything thereafter. He clinched his plea by assuring the young American, On the outside we ll look like gangsters, but on the inside we ll wear the gowns of priests. "Every Night the Trees Disappear" is an intimate chronicle of how this visionary filmmaker directed a masterwork. Greenberg s observations, interwoven with Herzog s original screenplay, elucidate just how unusual Herzog s filmmaking methods could be. By hypnotizing his actors before shooting each scene, Herzog led his crew into a veritable cinematic netherworld, resulting in one of the most haunting movies ever made.Rather than a conventional, journalistic account of how a director makes a movie, "Every Night the Trees Disappear" instead presents a unique vision with the feel of a novel intimate, penetrating, and filled with mystery."
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Every Night the Trees Disappear: Werner Herzog and the Making of Heart of Glass
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Brigitte Bardot's rise from fashion model and film starlet to global celebrity was meteoric and unprecedented: after her breakthrough role in Et Dieu ... crea la femme in 1956, audiences the world over rushed to see her films. Predating Beatlemania, she provoked mass hysteria: paparazzi stalked her, journalists, sociologists and novelists wrote about her; young women imitated her style. All at once sex bomb, radical proto-feminist and scandalous figurehead of a hedonistic and sexually free lifestyle, 'B.B.' was France's first mass-media star.
In this original and illuminating study, film scholar and Bardot fan Ginette Vincendeau explores the star's complex and revolutionary
image of femininity, her film career and her lasting and controversial celebrity. Analysing all Bardot's output, encompassing popular
comedies and melodramas, work with New Wave directors Louis Malle and Jean-Luc Godard, and international productions such
as Dear Brigitte (1965) and Shalako (1968), Vincendeau shows how Bardot's enduring fame is based on her status as a sexual, lifestyle, musical, and fashion role model and even, in her guise as Marianne, the emblem of the French Republic, an icon of national
identity. Finally, she considers the ageing Bardot's continued prominence in popular culture through her own writings and animal rights activism, arguing that, as well as a glamorous film star, Bardot was one of the inventors of modern celebrity.
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Brigitte Bardot: The Life, the Legend, the Movies
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From his sexual awakening in postwar England to life in the sixties and beyond, Derek Jarman tells his life story with the in-your-face immediacy that became his trademark style in both his films and writing. Accompanied by nearly one hundred photographs of Jarman, his friends, lovers, and inspirations, the candid accounts in Dancing Ledge provide intimate and incredibly vivid glimpses into this iconoclastic filmmaker's life and times.
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Dancing Ledge
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A provocative memoir from Luis Bunuel, the Academy Award winning creator of some of modern cinema's most important films, from Un Chien Andalou to The Discreet Charm of the Bourgeoisie.

Luis Bunuel's films have the power to shock, inspire, and reinvent our world. Now, in a memoir that carries all the surrealism and subversion of his cinema, Bunuel turns his artistic gaze inward. In swift and generous prose, Bunuel traces the surprising contours of his life, from the Good Friday drumbeats of his childhood to the dreams that inspired his most famous films to his turbulent friendships with Federico Garcia Lorca and Salvador Dali. His personal narratives also encompass the pressing political issues of his time, many of which still haunt us today--the specter of fascism, the culture wars, the nuclear bomb. Filled with film trivia, framed by Bunuel's intellect and wit, this is essential reading for fans of cinema and for anyone who has ever wanted to see the world through a surrealist's eyes.

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My Last Sigh: The Autobiography of Luis Bunuel
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Drawn from the collection of handmade books that Jarman gave to the British Film Institute shortly before his death in 1994, Derek Jarman's Sketchbooks showcases the most insightful and beautiful pages. Each of the original volumes is composed of drawings, photographs, and cuttings; pressed flowers are set beside scrawled ideas, and carefully penned poems accompany typed and edited working scripts. These once-private books are an intimate pictorial record of the detailed planning and research and the creative and emotional engagement behind every scene in Jarman's films.
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Derek Jarman's Sketchbooks
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The Super 8s show Jarman at his most visually courageous and creative, using rich color and bold compositions, and experimenting with techniques such as superimposition and the use of prisms and filters. When Jarman died, he left his entire collection of ninety-two Super 8s to James Mackay, who has spent the last twenty years archiving, restoring, and digitizing them. Here, Mackay presents stills from these works, selected by artists and filmmakers who have engaged with or been influenced by Jarman. This remarkable body of work contains some of the most evocative images from the filmmaker's entire career, accompanied by insightful commentaries from contributors such as Gus Van Sant, Tacita Dean, and Isaac Julien.
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Derek Jarman Super 8
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Derek Jarman's films explore the possibilities and limitations of same-sex love and self-expression during various historical eras, ranging from ancient Egypt to present times. His work covers a millennium of sexual repression and efforts to escape it. Jarman provides us with a cinematic history of people whose homoerotic passions had a major impact on western civilization in religion, art, politics, philosophy, and war. This book provides background information on each of Jarman's fifteen scripts and films. The chapters are "program notes" to his films from a historical perspective. An interpretation of Jarman's intentions, gleaned from the director's writings and works about him, is also provided. This work reveals Jarman's importance as a keen student of the limits of historical knowledge, and delineates the role of history in inspiring change or preserving inertia in the present struggle against homophobia.
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The Films of Derek Jarman
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Ida Lupino did not want to be an actress; composing and writing were her major interests. Ida branched out into film directing and producing in 1949, becoming one of two women to enter the male-dominated field. While her feature films were primarily aimed at female audiences, on television Ida Lupino quickly became known for her skill at directing westerns, mysteries and detective dramas - shows aimed at male viewers and many featuring all-male casts. "No one ever asked me to direct a love story," she said. About the Author Mary Ann Anderson has had a varied and extensive career in the world of show business. She was exposed to the entertainment industry early on as the daughter of Emily McLaughlin, who played nurse Jesse Brewer for more than 25 years in ABC's General Hospital. As an author, Mary Ann has published Portrait of a Soap Star: The Emily McLaughlin Story. Mary Ann served as conservator for Ida Lupino, the actress and director, from 1984 to 1995. Many Brentwood residents who lived on Old Oak Lane recall the time Miss Lupino set her mailbox on fire. She also delighted in watering her lawn and the neighbors - not the neighbors' lawns, but the neighbors Through her association with Miss Lupino, Mary Ann met many other legends of "Old Hollywood," such as Olivia de Havilland, Joan Fontaine, Barbara Hale and Marie Windsor. Mary Ann has been instrumental in bringing the stories of Ida Lupino to A&E's Biography and Jeffrey Hunter to E 's Mysteries and Scandals, by researching, writing and appearing in them. She also worked on the Ida Lupino Paper Doll Book, released by Paper Studio Press.
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Ida Lupino: Beyond the Camera
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Sergei Eisenstein was born in Riga in 1898. His father was a Jew of German origin who had converted to Russian Orthodoxy and who passed himself off as a Baltic baron. His mother was the daughter of wealthy Russian (and traditionally anti-Semitic) merchants from St.Petersburg. Eisenstein's life was full of unforeseen diversions and turns of events. Would he become an architect like his father and go into German exile in 1918? Would he be banished as a Freemason in 1925, or stay in the USA in 1932? Would he be sentenced by a special court in 1939 to be executed, like his friends Isaak Babel and Vsevolod Meyerhold? Or would he ultimately die as a Stalin Prize winner (for "Ivan the Terrible," Part I) of a heart attack caused by the ban on Part II? This biography came into being after extensive research in Moscow, Berlin, Paris, New York, and Los Angeles. The author is the first to analyze Eisenstein's diaries and correspondence?materials that were inaccessible in the past. Eisenstein's relations with Freemasons, Rosicrucians and Stalin, with rivals and admirers, with psychoanalysts who treated him?are no longer faded out. Was Eisenstein homosexual? A Stalinist? A conformist? A dissident? He left no clear answers for his biographers. Oksana Bulgakowa's study of Eisenstein's life tries to uncover these themes in his films and drawings, between the lines of his diaries and letters, in his drafts to screenplays, projects, and research. Late in life Eisenstein viewed this research as his only possible means of salvation from the compromises he had consciously made with himself and his creativity. Oksana Bulgakowa (b. 1954) graduated from the Moscow Film Institute VGIK in 1977. In the same year she moved to Berlin/GDR and received her doctoral degree from Humboldt University in 1982. She works as an author, editor, translator, and filmmaker. Since 1998 she has been a visiting professor at Stanford University, USA. For further information go to www.PotemkinPress.com]
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Sergei Eisenstein. a Biography
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