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Unputdownable · Psychological Suspense · Horror · Tense · Gripping A FALLON BOOK CLUB PICK “Pulse-pounding locked-room suspense.” —Elle “Nightwatching is like nothing I've read before. I wolfed it down in two sittings; it's amazing.”—Lisa Jewell A footstep on the stairs. A second to react. What happens next will determine everything. Home alone with her young children during a blizzard, a mother tucks her son back into bed in the middle of the night. She hears a noise—old houses are always making some kind of noise. But this sound is disturbingly familiar: it’s the tread of footsteps, unusually heavy and slow, coming up the stairs. She sees the figure of a man appear down the hallway, shrouded in the shadows. Terrified, she quietly wakes her children and hustles them into the oldest part of the house, a tiny, secret room concealed behind a wall. There they hide as the man searches for them, trying to tempt the children out with promises and scare the mother into surrender. In the suffocating darkness, the mother struggles to remain calm, to plan. Should she search for a weapon or attempt escape? But then she catches another glimpse of him. That face. That voice. And at once she knows her situation is even more dire than she’d feared, because she knows exactly who he is—and what he wants.
Peter Greenaway: Nightwatching~ISBN 2-914563-23-X U.S. $24.95 / Paperback, 8.25 x 7 in. / 128 pgs / 32 color. ~Item / June / Film Greenaway is a cultural omnivore who eats with his mouth open. --Pauline Kael
In 2007, the internationally renowned filmmaker Peter Greenaway ("The Cook, The Thief, His Wife & Her Lover; The Draughtsman's Contract") will release "Nightwatching," a feature-length study of the life and loves of the eighteenth-century Dutch painter, Rembrandt, via his controversial masterpiece, "The Night Watch," an ensemble painting which depicts the identification of a murderer. According to Greenaway, the painting is "Rembrandt's "J'accuse."" There is a conspiracy painted in Rembrandt's "The Night Watch." The sinister title of the painting alone suggests we should look for it . Is this a painting, or an act of theater, or a still from a film?" In this accompanying artist's book, Greenaway offers fans a glimpse into his own artistic process, with written analyses of each of the characters in the painting followed by a wealth of enlarged, close-up details in which brush marks practically jump from the page.
Morality plays were the main form of theatre in England between about 1400 and 1600. They usually portrayed a representative Christian figure locked in spiritual conflict. They have recently been revived as early examples of living theatre.
Publisher description
Imagining Global Amsterdam gaat over het beeld van Amsterdam in film, literatuur, visuele kunst en in het moderne stedelijke discours, in het bijzonder in de context van de mondialisering. De essays gaan onder andere dieper in op Amsterdam als een lieu de mémoire van de vroeg-moderne wereldhandel. Wat betekent deze herinnering in de hedendaagse cultuur? Waarom verwijzen zo veel contemporaine films en romans naar dit verleden terug? Ook het (inter)nationale imago van Amsterdam als een multicultureel en ultra-tolerant ‘%x;global village’%x; komt aan bod. Waarom is dit beeld zo persistent, en hoe heeft het zich in de loop van de laatste decennia ontwikkeld? Tot slot wordt ingegaan op de vraag hoe mondialiseringsprocessen ingrijpen in de stadscultuur, zoals in het prostitutiegebied op de Wallen en via de erfgoedindustrie. Hoe manifesteert de mondialisering zich in de stad, en welke rol speelt beeldvorming daarbij? Deze bundel vormt een rijk geschakeerd onderzoek naar de relatie tussen Amsterdam, mondialisering en stedelijke beeldvorming. Marco de Waard is als docent literatuurwetenschap verbonden aan het Amsterdam University College.
Often treated like night itself—both visible and invisible, feared and romanticized—Latina/os make up the largest minority group in the US. In her newest work, María DeGuzmán explores representations of night in art and literature from the Caribbean, Colombia, Central and South America, and the US, calling into question night's effect on the formation of identity for Latina/os in and outside of the US. She takes as her subject novels, short stories, poetry, essays, non-fiction, photo-fictions, photography, and film, and examines these texts through the lenses of nationhood, sexuality, human rights, exoticism, among others.
Since the 1960s, British multi-media artist Peter Greenaway has shocked and intrigued audiences with his avant-garde approach to filmmaking and other artistic ventures. From early experimental films to provocative features, Greenaway has deployed strategies associated with structuralist cinema, only to challenge or critique the very limits of that cinema and of film in general. In this collection of essays, scholars from a variety of disciplines explore various postmodern and poststructuralist aspects of Greenaway's films, starting with his early shorts and delving into his feature-length works, including The Draughtman's Contract, The Belly of an Architect, A Zed and Two Noughts, The Cook, the Thief, His Wife and Her Lover, The Baby of M%con, and The Pillow Book. Other artistic productions, including his paintings and installations are also discussed. These essays examine the filmmaker's position within British and avant-garde cinema and his interest in constructing and deconstructing representational systems. In the years since the first edition of this book, Greenaway has enjoyed continued success in creating hybridized media projects for the stage and screen, as evidenced by additional essays for this revised edition. A new chapter addresses how Dutch political events and Dutch art have been crucial in shaping Greenaway's aesthetic, focusing on The Draughtsman's Contract, the 1991 opera Writing to Vermeer, and Nightwatching, the audio-visual installation and 2007 film of the same name, which were inspired by Rembrandt's Night Watch. Also new to this collection is an essay that examines Greenaway's most ambitious endeavor to date, The Tulse Luper Suitcases, which exists as four feature films, multiple websites, an online game, several books and installations, and a number of theatrical events. Peter Greenaway's Postmodern/Poststructuralist Cinema, Revised Edition explores the cultural, historical, and philosophical implications of this hybrid artist whose paintings, drawings, exhibitions, installations, and operatic productions are an intrinsic part of his work in film. This collection of diverse essays, which includes two texts by Greenaway, two interviews with the director, and a revised filmography, will interest students, teachers, critics and lovers of both postmodern art and cinema.
Vampires. They hunt in every major city, hidden by the crowds, shielded by disbelief. They are Killers, and their prey is human. Not all vampires are Killers. The Guardians of the Night sacrifice the superior physical and psychic strength that comes with feeding on humans to protect them. But the Guardians walk a thin line, for even a single kill could leave them helplessly addicted to murder. When detective-turned-P.I. Carolyn Mathers was left at the altar, she never once thought her fiancé had been turned into a vampire. Two years later, Gray reappears, bringing murder, mystery, and an unbelievable tale of Guardians, blood-thirsty Killers, and his own transformation with him. And he's been accused of murder. A first-rate P.I., Carolyn is determined to help. Gray won't allow what he is now to taint her -- but Carolyn vows to never let him go again. But will helping Gray mean becoming a creature of the night? At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.