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🌟 Explore the Artistic Journey of Cate Blanchett 🎭🌟 Delve into the exceptional life and career of Cate Blanchett in Cate Blanchett: The Power of Performance. This definitive biography, meticulously crafted by the ChatStick Team, offers an unparalleled look at Blanchett's transformation from a passionate performer in Australia to a commanding presence in international cinema and theater. 📚 Highlights of This Enthralling Book: The Formative Years: From Melbourne to the world stage, uncover the beginnings that shaped a star. Signature Performances: Analyze the roles that won her global acclaim, from the ethereal to the commanding. Beyond the Camera: Gain insights into her profound impact on and off the screen, including her work in philanthropy and advocacy. A Lasting Legacy: Appreciate Blanchett's enduring influence on the arts and her trailblazing role in redefining acting for women everywhere. 🌟 Why This Book Is a Must-Read: 🌈 Rich with artistic analysis and personal insights. 🎥 Includes exclusive interviews and anecdotes. 🎬 Celebrates Blanchett's pivotal contributions to cinema and culture. Ideal for film students, Blanchett enthusiasts, and lovers of biographies, Cate Blanchett: The Power of Performance is more than a biography—it's an inspiration. Experience the depth and diversity of Blanchett's career and the indomitable spirit behind her celebrated roles. 📖✨ Dive into the life of a true legend—get your copy today!
Featuring every review Ebert wrote from January 2001 to mid-June 2003, this treasury also includes his essays, interviews, film festival reports, and In Memoriams, along with his famous star ratings.
Go on then: lock the doors and see what happens. Show me how much power you really have.When We Have Sufficiently Tortured Each Other breaks through the surface of contemporary debate to explore the messy, often violent nature of desire and the fluid, complicated roles that men and women play.Using Samuel Richardson's novel Pamela as a provocation, six characters act out a dangerous game of sexual domination and resistance.When We Have Sufficiently Tortured Each Other premiered at the National Theatre, London, in January 2019.
Mary Mapes's Truth (previously published as Truth & Duty) was made into the 2015 film Truth, starring Cate Blanchett, Robert Redford, Topher Grace and Elizabeth Moss. A riveting play-by-play of a reporter getting and defending a story that recalls All the President's Men, Truth puts readers in the center of the "60 Minutes II" story on George W. Bush's shirking of his National Guard duty. The firestorm that followed that broadcast--a conflagration that was carefully sparked by the right and fanned by bloggers--trashed Mapes' well-respected twenty-five year producing career, caused newsman Dan Rather to resign from his anchor chair early and led to an unprecedented "internal inquiry" into the story...chaired by former Reagan attorney general Richard Thornburgh. Truth examines Bush's political roots as governor of Texas, delves into what is known about his National Guard duty-or lack of service-and sheds light on the solidity of the documents that backed up the National Guard story, even including images of the actual documents in an appendix to the book. It is peopled with a colorful cast of characters-from Karl Rove to Sumner Redstone-and moves from small-town Texas to Black Rock-CBS corporate headquarters-in New York City. Truth connects the dots between a corporation under fire from the federal government and the decision about what kinds of stories a news network may cover. It draws a line from reporting in the trenches to the gutting of the great American tradition of a independent media and asks whether it's possible to break important stories on a powerful sitting president.
Performing Transversally expands on Bryan Reynolds' controversial transversal theory in exciting ways while offering groundbreaking analyses of Shakespeare's plays - Hamlet , Othello , Macbeth , Taming of the Shrew , Titus Andronicus , Henry V , The Tempest , and Coriolanus - and textual, filmic, and theatrical adaptations of them. With his collaborators, Reynolds challenges traditional readings of Shakespeare, re-evaluating the critical methodologies that characterize them, in regard to issues of cultural difference, authorship, representation, agency, and iconography. Reynolds demonstrates the value of his 'investigative-expansive mode,' outlining a 'transversal poetics' that points toward a critical future that is more aware of its subjective interconnectedness with the topics and audiences it seeks to engage than is reflected in most Shakespeare criticism and literary-cultural scholarship.
Thus, Isabelle Huppert, Modernist Performance demonstrates its premise through close readings considering how performance must be read in tandem with the whole.
Henry IV, Part One has been one of Shakespeare’s most popular plays since it was first produced, and was reprinted several times during the playwright’s lifetime. The play encompasses the tragic pathos of Hotspur’s death, the thrill of Hal’s battlefield valor, the intrigue of power politics, and the broad humor of tavern scenes. It has been performed as a play that celebrates England and engenders national pride, but also as a play that thumbs its nose at patriotism and notions of empire. This Broadview Edition provides a discussion of the play’s performance history, and both the introduction and footnotes encourage readers to think about the play as a performance text. The appendices gather a selection of historical sources and contemporary philosophical and political writings from England and Europe, and interleaved pages throughout the play provide illustrations and extended discussion of key phrases, plot points, and allusions. Further historical and performance materials are available on the Internet Shakespeare Editions website.
From the acclaimed filmmaker, artist, and bestselling author of No One Belongs Here More Than You, a spectacular debut novel that is so heartbreaking, so dirty, so tender, so funny--so Miranda July--that readers will be blown away. Here is Cheryl, a tightly-wound, vulnerable woman who lives alone, with a perpetual lump in her throat. She is haunted by a baby boy she met when she was six, who sometimes recurs as other people's babies. Cheryl is also obsessed with Phillip, a philandering board member at the women's self-defense nonprofit where she works. She believes they've been making love for many lifetimes, though they have yet to consummate in this one. When Cheryl's bosses ask if their twenty-one-year-old daughter, Clee, can move into her house for a little while, Cheryl's eccentrically ordered world explodes. And yet it is Clee--the selfish, cruel blond bombshell--who bullies Cheryl into reality and, unexpectedly, provides her the love of a lifetime. Tender, gripping, slyly hilarious, infused with raging sexual obsession and fierce maternal love, Miranda July's first novel confirms her as a spectacularly original, iconic, and important voice today, and a writer for all time. The First Bad Man is dazzling, disorienting, and unforgettable.
Containing reviews written from January 2002 to mid-June 2004, including the films "Seabiscuit, The Passion of the Christ," and "Finding Nemo," the best (and the worst) films of this period undergo Ebert's trademark scrutiny. It also contains the year's interviews and essays, as well as highlights from Ebert's film festival coverage from Cannes.
Bob Dylan has constantly reinvented the persona known as “Bob Dylan,” renewing the performance possibilities inherent in his songs, from acoustic folk, to electric rock and a late, hybrid style which even hints at so-called world music and Latin American tones. Then in 2016, his achievements outside of performance – as a songwriter – were acknowledged when he was awarded the Nobel Literature Prize. Dylan has never ceased to broaden the range of his creative identity, taking in painting, film, acting and prose writing, as well as advertising and even own-brand commercial production. The book highlights how Dylan has brought his persona(e) to different art forms and cultural arenas, and how they in turn have also created these personae. This volume consists of multidisciplinary essays written by cultural historians, musicologists, literary academics and film experts, including contributions by critics Christopher Ricks and Nina Goss. Together, the essays reveal Dylan's continuing artistic development and self-fashioning, as well as the making of a certain legitimized Dylan through critical and public recognition in the new millennium.