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Paramount: City of Dreams brings to life the operations of the world’s grandest movie lot as never before by opening its famous gates and revealing – for the first time – the wonderful myriad of soundstages and outdoor sets where, for one hundred years, Paramount has produced the world’s most famous films. With hundreds and hundreds of rare and unpublished photographs in color and black & white, readers are launched aboard a fun and entertaining “virtual tour” of Hollywood’s first, most famous and most mysterious motion picture studio. Paramount is a self-contained city. But unlike any community in the real world, this city’s streets and lawns, its bungalows and backlots, will be familiar even to those who have never been there. Now, for the first time, these much-filmed, much-haunted acres will be explored and the mysteries and myths peeled away – bringing into focus the greatest of all of Hollywood’s legendary dream factories.
The second edition of this innovative textbook brings together leading scholars to provide detailed analyses of twenty-two key films within the canon of French cinema, from the 1920s to the 1990s. Films discussed include: * masterpieces such as Renoir's La Bete Humaine and Carne's Les Enfants du Paradis * popular classics such as Les Vacances de Monsieur Hulot and Ma Nuit chez Maud * landmarks of the New Wave such as Les 400 Coups and A bout de souffle * important films of the 1990s such as Nikita and La Haine The films are considered in relation to such issues as the history of French cinema, the social and cultural contexts of their production and reception, the relationship with Hollywood cinema, gender politics, authorship and genre. Each article is accompanied with a guide to further reading and a filmography of the director, and the new edition also includes a fully revised introduction and a bibliography on French cinema.
A journal devoted to the discussion of political, economic, and sociological questions.
Some issues include separately paged sections: Better management, Physical theatre, extra profits; Review; Servisection.
The title of this book is, of course, inspired by the famous opening words of General de Gaulle's Memoirs of the Second World War: All my life I have thought of France in a certain way. Wesseling brings together his essays dealing with a great variety of subjects such as culture, society, politics, and diplomacy, with one section devoted entirely to French historians. The first section contains an chapter on the famous painter Ary Scheffer and the France of his time, that is to say the first half of the 19th century. The second chapter continues this theme and deals with Émile Zola and the Paris of the Second Empire. Two other chapters discuss aspects of the Third Republic, sports and students, respectively. The second section is devoted to French intellectuals. It offers the first in-depth analysis of the group of intellectuals that supported Zola and Dreyfus. Chapter six deals with one of the great literary figures of the interwar period—and later a notorious collaborator—Robert Brasillach. Chapter seven contains a vivid sketch of the life and work of the famous French intellectual Raymond Aron. The third section is devoted to politics and diplomacy. French foreign policy is discussed both in its long-term perspective as well as more specifically in the period of Charles de Gaulle. De Gaulle's idea of France is compared with that of an author by whom he was greatly influenced, Charles Péguy. Finally, there is a section on French history writing, including two biographical essays, one about Gabriel Hanotaux, the once famous but now nearly forgotten historian who became Minister of Foreign Affairs, and another on Fernand Braudel, the great contemporary French historian and close friend of Wesseling. Of particular interest to scholars, students, and other researchers involved with French history, the history of ideas, and European historiography.
In an ambitious attempt to dominate the international sound film market, Paramount, the motion picture powerhouse, invested money abroad where great filmmaking talent was at hand. Waldman looks at the 300 films Paramount produced in Paris and the filmmakers who loaned their genius to an effort that has been overlooked by film historians.