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"André Bazin (1918–58) is credited with almost single-handedly establishing the study of film as an accepted intellectual pursuit, as well as with being the spiritual father of the French New Wave. Among those who came under his tutelage were four who would go on to become the most renowned directors of the postwar French cinema: François Truffaut, Jean-Luc Godard, Jacques Rivette, and Claude Chabrol. Bazin can also be considered the principal instigator of the equally influential auteur theory: the idea that, since film is an art form, the director of a movie must be perceived as the chief creator of its unique cinematic style.André Bazin, the Critic as Thinker: American Cinema from Early Chaplin to the Late 1950s contains, for the first time in English in one volume, much if not all of Bazin’s writings on American cinema: on directors such as Orson Welles, Charles Chaplin, Preston Sturges, Alfred Hitchcock, Howard Hawks, John Huston, Nicholas Ray, Erich von Stroheim, and Elia Kazan; and on films such as High Noon, Citizen Kane, Rear Window, Limelight, Scarface, Niagara, The Red Badge of Courage, Greed, and Sullivan’s Travels.André Bazin, the Critic as Thinker: American Cinema from Early Chaplin to the Late 1950s also features a sizable scholarly apparatus, including a contextual introduction to Bazin’s life and work, a complete bibliography of Bazin’s writings on American cinema, and credits of the films discussed. This volume thus represents a major contribution to the still growing academic discipline of cinema studies, as well as a testament to the continuing influence of one of the world’s pre-eminent critical thinkers."
Foreword by Ben Stiller Afterword by Perry Farrell Jewish achievement in the sciences? Celebrated. Jews in literature? Lionized. But until now, there's been no record of the massive contributions of Jews in Rock n' Roll. Jews Who Rock features 100 top Jewish rockers, from Bob Dylan to Adam Horowitz, Courtney Love (yes, she's half Jewish) to John Zorn, with a concise page of essential data and a biography of each one. Includes the complete lyrics to "The Chanukah Song" by Adam Sandler
Yé-Yé means Yeah Yeah! and is best known as a style of '60s pop music heard in France and Québec.
The most famous stage actress of the nineteenth century, Sarah Bernhardt enjoyed a surprising renaissance when the 1912 multi-reel film Queen Elizabeth vaulted her to international acclaim. The triumph capped her already lengthy involvement with cinema while enabling the indefatigable actress to reinvent herself in an era of technological and generational change. Placing Bernhardt at the center of the industry's first two decades, Victoria Duckett challenges the perception of her as an anachronism unable to appreciate film's qualities. Instead, cinema's substitution of translated title cards for her melodic French deciphered Bernhardt for Anglo-American audiences. It also allowed the aging actress to appear in the kinds of longer dramas she could no longer physically sustain onstage. As Duckett shows, Bernhardt contributed far more than star quality. Her theatrical practice on film influenced how the young medium changed the visual and performing arts. Her promoting of experimentation, meanwhile, shaped the ways audiences looked at and understood early cinema. A leading-edge reappraisal of a watershed era, Seeing Sarah Bernhardt tells the story of an icon who bridged two centuries--and changed the very act of watching film.
Blake said of his works, 'Tho' I call them Mine I know they are not Mine'. So who owns Blake? Blake has always been more than words on a page. This volume takes Blake 2.0 as an interactive concept, examining digital dissemination of his works and reinvention by artists, writers, musicians, and filmmakers across a variety of twentieth-century media.
Edmond de Goncourt masterfully exposes the history of Japanese art from the Buddhist School to the School of Life, including the Tosa School and the Kano School. I could add details that have been better known since then; but I will only point out the extreme continuity of Japanese art. Nothing can give a better idea of this than the representation of faces, especially the woman's face. Since the earliest antiquity, we have found this mask motionless, elongated, reduced to elementary lines, always the same, following a gun from China... The painters will succeed the painters for a thousand years, and this conventional mask will remain the face of the woman... I am convinced that this is not a special modality in Japanese art. Let us only recall the slow evolution of Egyptian art, the persistence of cannons, the hieratic poses, fixed once and for all, and the diversity of the gods alone creating the diversity of types...
The concluding volume of Reynolds' biograpy covers the last 20 years in Hemingway's life.