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They are ubiquitous these days-eloquent, charismatic preachers, speakers, teachers, and evangelists who skillfully argue that the essential message of Christianity is love. But there are other fundamentals of being a follower of Christ that the popular preachers often ignore. The lack of teaching on it is not just misleading but dangerous.
Peter Sellers's explosive talent made him a beloved figure in world cinema and continues to attract new audiences. With his darkly comic performances in Dr. Strangelove and Lolita and his outrageously funny appearances as Inspector Clouseau in the Pink Panther films, he became one of the most popular movie stars of his time. Sellers himself identified most personally with the character he played in Being There -- an utterly empty man on whom others projected what they wanted, or needed, to see. In this lively and exhaustively researched biography, Ed Sikov offers unique insight into Sellers's comedy style. Beginning with Sellers' lonely childhood with a mother who wouldn't let go of him, through his service in the Royal Air Force and his success on BBC Radio's The Goon Show, Sikov goes on to detail his relationships with co-stars such as Alec Guinness, Sophia Loren, and Shirley MacLaine; his work with such directors as Stanley Kubrick, Billy Wilder, and Blake Edwards; his four failed marriages; his ridiculously short engagement to Liza Minnelli; and all the other peculiarities of this eccentric man's unpredictable life. The most insightful biography ever written of this endlessly fascinating star, Mr. Strangelove is as comic and tragic as Peter Sellers was himself.
Utopia. A community or society possessing highly desirable or nearly perfect qualities. It may be a dream, but it's a dream that has inspired writers for thousands of years. Plato's "Republic" may be the very first utopia presented to a mass audience, but Thomas More coined the term with his 1516 book Utopia (included here), which describes a fictional island society in the Atlantic Ocean. The term (and its antonym, dystopia) quickly entered the English language. And here are 19 other works, famous and not, featuring utopias and dystopias...works by Samuel Butler, Charlotte Perkins Gilman, Anna Bowman Dodd, William Morris, Sir Francis Bacon, and many others. Included are: EREWHON, by Samuel Butler MOVING THE MOUNTAIN, by Charlotte Perkins Gilman HERLAND, by Charlotte Perkins Gilman EQUALITY, by Edward Bellamy CAESAR’S COLUMN, by Ignatius Donnelly THE REPUBLIC OF THE FUTURE, by Anna Bowman Dodd A CRYSTAL AGE, by W. H. Hudson A TRAVELER FROM ALTRURIA, by W. D. Howells FREELAND: A SOCIAL ANTICIPATION, by Dr. Theodor Hertzka MIZORA: A PROPHECY, by Mary E. Bradley Lane SOLARIS FARM, by Milan C. Edson LOOKING BACKWARD, by Edward Bellamy SOME PICTURES OF A SOCIALIST FUTURE, by Eugene Richter UTOPIA, by Thomas More THE COMMONWEALTH OF OCEANA, by James Harrington THE NEW ATLANTIS, by Sir Francis Bacon THE BLAZING WORLD, by Margaret Cavendish CHRISTIANOPOLIS, by Johannes Valentinus Andreae THE CITY OF THE SUN, by Tommaso Campanella If you enjoy this book, search your favorite ebook store for "Wildside Press Megapack" to see the 150+ entries in the MEGAPACKTM ebook series, covering science fiction, fantasy, horror, mysteries, westerns, classics, adventure stories, and much, much more!
They were mad, of course. Or evil. Or godless, amoral, arrogant, impersonal, and inhuman. At best, they were well-intentioned but blind to the dangers of forces they barely controlled. They were Faust and Frankenstein, Jekyll and Moreau, Caligari and Strangelove--the scientists of film and fiction, cultural archetypes that reflected ancient fears of tampering with the unknown or unleashing the little-understood powers of nature. In From Faust to Strangelove Roslyn Haynes offers the first detailed and comprehensive study of the image of the scientist in Western literature and film--from medieval images of alchemists to present-day depictions of cyberpunks and genetic engineers.
Detective McNulty applies bite marks to a deceased man's body with a set of dentures in The Wire, illustrating how officialdom deals in falsehood. Dr. Strangelove lovingly describes the "doomsday machine" as being free from "human meddling," while it destroys the world, highlighting the absurdity of placing systems above any moral considerations. In Crash, Ballard survives a car accident only to be cared for by a paternal technology that tends only to his physical needs--a life of technical certitude bereft of beauty. The Cold War, with its promise of imminent and purposeless doom, profoundly shaped the post-modern world in ways that are not yet appreciated. This study examines the Cold War zeitgeist and its aftermath as shown in fiction, film and television.
Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.
On Kubrick provides an illuminating critical account of the films of Stanley Kubrick, from his earliest feature, Fear and Desire (1953), to the posthumously-produced A.I. Artificial Intelligence (Steven Spielberg, 2001). The book offers provocative analysis of each of Kubrick's films, together with new information about their production histories and cultural contexts. Its ultimate aim is to provide a concise yet thorough discussion that will be useful as both an academic text and a trade publication. James Naremore argues that in several respects Kubrick was one of the cinema's last modernists: his taste and sensibility were shaped by the artistic culture of New York in the 1950s; he became a celebrated auteur who forged a distinctive style; he used art-cinema conventions in commercial productions; he challenged censorship regulations; and throughout his career he was preoccupied with one of the central themes of modernist art – the conflict between rationality and its ever-present shadow, the unconscious. War and science are key concerns in Kubrick's oeuvre, and his work has a hyper-masculine quality. Yet no director has more relentlessly emphasized the absurdity of combat, as in Paths of Glory (1957) and Full Metal Jacket (1987), the failure of scientific reasoning, as in 2001 (1968), and the fascistic impulses in masculine sexuality, as in Dr Strangelove (1964) and Eyes Wide Shut (1999). The book also argues that while Kubrick was a voracious intellectual and a life-long autodidact, the fascination of his work has less to do with the ideas it espouses than with the emotions it evokes. Often described as 'cool' or 'cold,' Kubrick is best understood as a skillful practitioner of what might be called the aesthetics of the grotesque; he employs extreme forms of caricature and black comedy to create disgusting, frightening yet also laughable images of the human body, creating a sense of unease that leaves viewers unsure of how to react.
Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) has long been recognised as one of the key artistic expressions of the nuclear age. Made at a time when nuclear war between the United States and the Soviet Union was a real possibility, the film is menacing, exhilarating, thrilling, insightful and very funny. Combining a scene-by-scene analysis of Dr. Strangelove with new research in the Stanley Kubrick Archive, Peter Krämer's study foregrounds the connections the film establishes between the Cold War and World War II, and between sixties America and Nazi Germany. How did the film come to be named after a character who only appears in it very briefly? Why does he turn out to be a Nazi? And how are his ideas for post-apocalyptic survival in mineshafts connected to the sexual fantasies of the military men who destroy life on the surface of the Earth? This special edition features original cover artwork by Marian Bantjes.
The work of Karl Marx is revered in social philosophy, political science and literary criticism, but there is an area where Marxism seems not to have penetrated. That area is the study of popular culture, especially the cinema, where Marxism provides a useful lens through which seemingly disparate films can be explored. As a whole the new essays assembled here approach a wide cross-section of cinematic history and provide analysis of blockbusters, cult hits, comedies, suspenseful dramas and history-making films within a framework of power, power relations and class struggle. The collection brings to popular culture studies the same scholarly weight that attends the work of Aristotle or Plato or Derrida and, at the same time, presents that scholarship in an accessible style.