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Michelangelo Antonioni's 1966 film Blow-Up is a masterfully constructed and paced exploration of the enigmas that challenge our interpretations of both the moving and the still image. Photography plays a key role at the very core of the film, providing the metaphorical site for the director's questioning of the relationship between reality and perceptions. This book provides a fresh and stimulating study of Antonioni's masterpiece. It reassembles and re-tells - through onset stills and the original blow-ups - the film's key narrative and pictorial strands in a focused visual investigation that is complemented by the authors' analytical essays. These texts draw on new research and effectively situate the film in the social and creative contexts that informed Antonioni's screenplay and art direction - on the one hand through an account of the milieu of fashionable photographers and models and the media through which they became so vivid a phenomenon, and on the other hand through the revelation of the artistic and literary reference points that so pervasively enrich the film.
This remarkably illuminating portrait of Tennessee Williams lifts the veil on the heart and soul of his artistic inspiration: the unspoken collaboration between playwright and actor. At a low moment in Williams’s life, he summoned to New Orleans a young twenty-year-old writer, James Grissom, who had written him a letter asking for advice. After a long, intense conversation, Williams sent Grissom on a journey on his behalf to find out if he or his work had mattered to those who had so deeply mattered to him. Among the more than seventy women and men with whom Grissom talked were giants of American theater and film: Lillian Gish, (“the escort who brought me to Blanche”), Jessica Tandy (the original Blanche DuBois on Broadway), Eva Le Gallienne (“She was a stone against which I could rub my talent and feel that it became sharper”), Maureen Stapleton, Julie Harris, Bette Davis, Katherine Hepburn, Elia Kazan, Marlon Brando, John Gielgud, and many more. Follies of God provides dazzling insight into how Williams conjured the dramatic characters and plays that so transformed American theater.
THE STORY: David arrives in Poland with a crippling case of writer’s block and a desire to be left alone. His seventy-five-year-old second cousin Maria welcomes him with a fervent need to connect with her distant American family. As their tenuous relationship develops, she reveals details about her complicated post-war past that test their ideas of what it means to be a family.
The Actors on Shakespeare series draws on the contemporary relevance and enjoyment to be found in Shakespeare. Each book contains a personal response to a particular character, in this case Vanessa Redgrave offers her view of Cleopatra.
From the landmark films of Tony Richardson to the untimely death of Natasha Richardson – this is the saga of one of the greatest dynasties in British film and theatre. In 1928, at the end of a production of Hamlet at the Old Vic, Laurence Olivier strode to the front of the stage to hush the audience and announced, pointing at his co-star Michael Redgrave, 'Tonight a great actress has been born. Laertes has a daughter.' He meant Vanessa Redgrave. That is where this dramatic book’s story begins. It concludes in 2009, with the sudden and tragic death in a skiing accident of Vanessa’s daughter Natasha Richardson – and further family sorrow soon to follow with the deaths of both Corin and Lynn Redgrave. The story of this amazing family is explosive throughout - from the tangled private life of Tony Richardson, Natasha’s father, who directed major films such as Look back in Anger, to Vanessa and Corin’s complicated involvement with the Workers’ Revolutionary Party, to the emergence of a fourth generation of fine actors with Natasha and Joely.? There is truly never a dull moment – but plenty of scandal, melodrama, tragedy and intrigue – in the story of this remarkable dynasty, whose contribution to British drama and film has been immense.
NEW YORK TIMES BESTSELLER • NATIONAL BOOK AWARD WINNER • From one of America’s iconic writers, a stunning book of electric honesty and passion that explores an intensely personal yet universal experience: a portrait of a marriage—and a life, in good times and bad—that will speak to anyone who has ever loved a husband or wife or child. Several days before Christmas 2003, John Gregory Dunne and Joan Didion saw their only daughter, Quintana, fall ill with what seemed at first flu, then pneumonia, then complete septic shock. She was put into an induced coma and placed on life support. Days later—the night before New Year’s Eve—the Dunnes were just sitting down to dinner after visiting the hospital when John Gregory Dunne suffered a massive and fatal coronary. In a second, this close, symbiotic partnership of forty years was over. Four weeks later, their daughter pulled through. Two months after that, arriving at LAX, she collapsed and underwent six hours of brain surgery at UCLA Medical Center to relieve a massive hematoma. This powerful book is Didion’ s attempt to make sense of the “weeks and then months that cut loose any fixed idea I ever had about death, about illness ... about marriage and children and memory ... about the shallowness of sanity, about life itself.
The first book on Hitchcock that focuses exclusively on his work with actors Alfred Hitchcock is said to have once remarked, "Actors are cattle," a line that has stuck in the public consciousness ever since. For Hitchcock, acting was a matter of contrast and counterpoint, valuing subtlety and understatement over flashiness. He felt that the camera was duplicitous, and directed actors to look and act conversely. In The Camera Lies, author Dan Callahan spotlights the many nuances of Hitchcock's direction throughout his career, from Cary Grant in Notorious (1946) to Janet Leigh in Psycho (1960). Delving further, he examines the ways that sex and sexuality are presented through Hitchcock's characters, reflecting the director's own complex relationship with sexuality. Detailing the fluidity of acting -- both what it means to act on film and how the process varies in each actor's career -- Callahan examines the spectrum of treatment and direction Hitchcock provided well- and lesser-known actors alike, including Ingrid Bergman, Henry Kendall, Joan Barry, Robert Walker, Jessica Tandy, Kim Novak, and Tippi Hedren. As Hitchcock believed, the best actor was one who could "do nothing well" - but behind an outward indifference to his players was a sophisticated acting theorist who often drew out great performances. The Camera Lies unpacks Hitchcock's legacy both as a director who continuously taught audiences to distrust appearance, and as a man with an uncanny insight into the human capacity for deceit and misinterpretation.
At the height of the Great Depression, ruthless financier Gregor Antonescu's business is dangerously close to crumbling. In order to escape the wolves at his door, Gregor tracks down his estranged son Basil in the hopes of using his Greenwich Village apartment as a base to make a company-saving deal. Can this reunion help them reconcile? Or will this corrupt father use his only son as a pawn in one last power play? A gripping story about family, success and what we're willing to sacrifice for both.
In this entertaining and enlightening collection David Lodge considers the art of fiction under a wide range of headings, drawing on writers as diverse as Henry James, Martin Amis, Jane Austen and James Joyce. Looking at ideas such as the Intrusive Author, Suspense, the Epistolary Novel, Magic Realism and Symbolism, and illustrating each topic with a passage taken from a classic or modern novel, David Lodge makes the richness and variety of British and American fiction accessible to the general reader. He provides essential reading for students, aspiring writers and anyone who wants to understand how fiction works.