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Presents the superstars, stars and starlets of the 1930s.
"Information presented regarding birth, death, film credits and analyzes each player's unique talents, signature roles and career development. Representative range of backgrounds, character types and career experiences including actresses such as Agnes Moorehead, Thelma Ritter, Beulah Bondi, Sara Allgood, and Jessie Ralph, among others. A fascinating tour through Hollywood's big studio era and the lives of its characters"--Provided by publisher.
In the middle years of the Great Depression, Erskine Caldwell and photographer Margaret Bourke-White spent eighteen months traveling across the back roads of the Deep South--from South Carolina to Arkansas--to document the living conditions of the sharecropper. Their collaboration resulted in You Have Seen Their Faces, a graphic portrayal of America's desperately poor rural underclass. First published in 1937, it is a classic comparable to Jacob Riis's How the Other Half Lives, and James Agee and Walker Evans's Let Us Now Praise Famous Men, which it preceded by more than three years. Caldwell lets the poor speak for themselves. Supported by his commentary, they tell how the tenant system exploited whites and blacks alike and fostered animosity between them. Bourke-White, who sometimes waited hours for the right moment, captures her subjects in the shacks where they lived, the depleted fields where they plowed, and the churches where they worshipped.
This carefully crafted ebook: "TILL WE HAVE FACES" is formatted for your eReader with a functional and detailed table of contents. Till We Have Faces: A Myth Retold is a retelling of a story about Cupid and Psyche. This story had haunted Lewis all his life, because he realized that some of the main characters' actions were illogical. As a consequence, his retelling of the story is characterized by a highly developed character, the narrator, with the reader being drawn into her reasoning and her emotions. This was his last novel, and he considered it his most mature, written in conjunction with his wife, Joy Davidman. The first part of the book is written from the perspective of Psyche's older sister Orual, as an accusation against the gods. The story is set in the fictive kingdom of Glome, a primitive city-state whose people have occasional contact with civilized Hellenistic Greece. In the second part of the book, the narrator undergoes a change of mindset (Lewis would use the term conversion) and understands that her initial accusation was tainted by her own failings and shortcomings, and that the gods are lovingly present in humans' lives. Clive Staples Lewis (1898-1963) was a British novelist, poet, academic, medievalist, lay theologian and Christian apologist. He is best known for his fictional work, especially The Screwtape Letters, The Chronicles of Narnia, and The Space Trilogy, and for his non-fiction Christian apologetics, such as Mere Christianity, Miracles, and The Problem of Pain.
In Joseph Campana's debut collection, starring Audrey Hepburn, icons of public consumption speak in the language of private devotion. Encourage emulation. Inspire idolatry. Be a muse, be a nymph, be a sprite, bewitch me. Rise from obscurity. Set trends. Break habits. Make statements. Count blessings. Distribute kindnesses. Arouse devotion. Devote yourself to nobility. Ascend, ascend, ascend. -from "How to Be a Star"
"Till We Have Faces" is a retelling of a story about Cupid and Psyche. This story had haunted Lewis all his life, because he realized that some of the main characters' actions were illogical. As a consequence, his retelling of the story is characterized by a highly developed character, the narrator, with the reader being drawn into her reasoning and her emotions. This was his last novel, and he considered it his most mature, written in conjunction with his wife, Joy Davidman. The first part of the book is written from the perspective of Psyche's older sister Orual, as an accusation against the gods. The story is set in the fictive kingdom of Glome, a primitive city-state whose people have occasional contact with civilized Hellenistic Greece. In the second part of the book, the narrator undergoes a change of mindset (Lewis would use the term conversion) and understands that her initial accusation was tainted by her own failings and shortcomings, and that the gods are lovingly present in humans' lives. Clive Staples Lewis (1898-1963) was a British novelist, poet, academic, medievalist, lay theologian and Christian apologist. He is best known for his fictional work, especially The Screwtape Letters, The Chronicles of Narnia, and The Space Trilogy, and for his non-fiction Christian apologetics, such as Mere Christianity, Miracles, and The Problem of Pain.
The human face was said to be rediscovered with the advent of motion pictures, in which it is often viewed as expressive locus, as figure, and even as essence of the cinema. But how has the modern, technological, mass-circulating art revealed the face in ways that are also distinct from any other medium? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of the individual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration--these are among the cultural precedents informing our experience in the movie theatre. Yet the moving image also offers radical new confrontations with the face: Dreyer's Passion of Joan of Arc, Donen's Funny Face, Hitchcock's The Wrong Man, Bresson's enigmatic Au hasard Balthazar, Antonioni's Screen Test, Warhol's filmic portraits of celebrity and anonymity are among the key works explored in this book. In different ways these intense encounters manifest a desire for transparency and plenitude, but--especially in post-classical cinema--they also betray a profound ambiguity that haunts the human countenance as it wavers between image and language, between what we see and what we know. The spectacular impact of the cinematic face is uncannily bound up with an opacity, a reticence. But is it not for this very reason that, like faces in the world, it still enthralls us?
For years Tina Devers' lonely mundane life has been plagued by frightening dreams, brought on by years of suppressed guilt and fear--the guilt of causing a terrible accident that killed her mother and sister, and the fear of her father, who she believes hates her for what happened all those years ago. This guilt and fear cause her nights to be filled with haunting dreams. The only real friend Tina has is Lily, the big cloth doll with brown yarn ponytails from Tina's childhood. It is in Lily that Tina confides her most private thoughts and confesses her deepest secrets. Tina's only means of escape is the office where she works--the only place where she feels secure and in control of her life. But disturbing events cause the safety of that haven to be destroyed and the tension at home to worsen, triggering even more haunting dreams. Then architect Ben Collins comes into Tina's life and evokes feelings she never dreamed of, introducing her to a kind of love she never expected to find. With that love comes dreams that are filled with more guilt and fear, but there is also the possibility that Tina will be able to leave her childhood demons in the past. Will Ben's love for Tina be strong enough to help her overcome her past?
What happens when perfection isnt good enough? A witty question gets a witty answer in the science fiction novel Sabotage in Paradise that sets the clock ahead one thousand years. On Eidolon, a scientific paradise, geneticists have delivered everyones most cherished fantasies, including health, brains, longevity, and beauty, plus an everlasting carnival of lovemaking with the most desirable partners modeled on celebrities. Driven almost mad by apathy after several hundred years of living with perfection, one of the deftest saboteurs imaginable betrays the islands worship of the double helix. This genetic genius unfolds the novels central and surprising premise in a gene-based confrontation spanning centuries. The story features such unusual items as the genome iconizer tracing future faces from the genes themselvesenhanced by beautiful as well as comic pictures in the text. Beyond the wit and fun, the tale explores the consequences of genetic determinism. The increasing legibility of the genome will inspire an all-but-irresistible homage to the double helix lurking in our future. Genes will be our Moses leading to a paradoxical Promised Land thats more fantasticand familiar!than we have imagined. Sabotage in Paradise combines philosophy with a light touch and polished style. It challenges the tyranny of standards that control us in the present and may shape us in the future after further breakthroughs in genetics. It defends diversity with a crystal ball as clever as it is original. Sabotage in Paradise creates a memorable experience by emphasizing fun amid profundity.