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This is the hardback version. It is frequently said that one man's trash is another man's treasure, and nowhere is this statement more accurate than in the case of obscure bizarro exploitation films. Containing 55 essays on such trash classics as Ilsa: She Wolf of the SS (1975), I Spit on Your Grave (1978), and Faster, Pussycat! Kill! Kill! (1965), Trash CInema: A Celebration of Overlooked Masterpieces celebrates the good, the bad, and the ugly of these so-called "trash" films. Some of the pieces are reverential, some poke fun at the absurdity of the films, and others offer a more critical eye to these proceedings. With essays from more than 40 noted film writers, this collection is a one-of-a-kind treasure for those amongst us with a passion for the seedier side of cinema.
It is frequently said that one man's trash is another man's treasure, and nowhere is this statement more accurate than in the case of obscure bizarro exploitation films. Containing 55 essays on such trash classics as Ilsa: She Wolf of the SS (1975), I Spit on Your Grave (1978), and Faster, Pussycat! Kill! Kill! (1965), Trash CInema: A Celebration of Overlooked Masterpieces celebrates the good, the bad, and the ugly of these so-called "trash" films. Some of the pieces are reverential, some poke fun at the absurdity of the films, and others offer a more critical eye to these proceedings. With essays from more than 40 noted film writers, this collection is a one-of-a-kind treasure for those amongst us with a passion for the seedier side of cinema.
A master film critic is at her witty, exhilarating, and opinionated best in this career-spanning collection featuring pieces on Bonnie and Clyde, The Godfather, and other modern movie classics “Film criticism is exciting just because there is no formula to apply,” Pauline Kael once observed, “just because you must use everything you are and everything you know.” Between 1968 and 1991, as regular film reviewer for The New Yorker, Kael used those formidable tools to shape the tastes of a generation. She had a gift for capturing, with force and fluency, the essence of an actor’s gesture or the full implication of a cinematic image. Kael called movies “the most total and encompassing art form we have,” and her reviews became a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace. Her ability to evoke the essence of a great artist—an Orson Welles or a Robert Altman—or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Here are her appraisals of era-defining films such as Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville, along with many others, some awaiting rediscovery—all providing the occasion for masterpieces of observation and insight, alive on every page.
A visual history of 100 years of filmmaking in New York City, featuring exclusive interviews with NYC filmmakers Fun City Cinema gives readers an in-depth look at how the rise, fall, and resurrection of New York City was captured and chronicled in ten iconic Gotham films across ten decades: The Jazz Singer (1927), King Kong (1933), The Naked City (1948), Sweet Smell of Success (1957), Midnight Cowboy (1969), Taxi Driver (1976), Wall Street (1987), Kids (1995), 25th Hour (2002), and Frances Ha (2012). A visual history of a great American city in flux, Fun City Cinema reveals how these classic films and legendary filmmakers took their inspiration from New York City’s grittiness and splendor, creating what we can now view as “accidental documentaries” of the city’s modes and moods. In addition to the extensively researched and reported text, the book includes both historical photographs and production materials, as well as still-frames, behind-the-scenes photos, posters, and original interviews with Noah Baumbach, Larry Clark, Greta Gerwig, Walter Hill, Jerry Schatzberg, Martin Scorsese, Susan Seidelman, Oliver Stone, and Jennifer Westfeldt. Extensive "Now Playing" sidebars spotlight a handful of each decade’s additional films of note.
NATIONAL JEWISH BOOK AWARD FINALIST WINNER OF THE 2012 AMERICAN LIBRARY ASSOCIATION’S SOPHIE BRODY AWARD FOR OUTSTANDING ACHIEVEMENT IN JEWISH LITERATURE Sacred Trash tells the remarkable story of the Cairo Geniza—a synagogue repository for worn-out texts that turned out to contain the most vital cache of Jewish manuscripts ever discovered. This tale of buried communal treasure weaves together unforgettable portraits of Solomon Schechter and the other modern heroes responsible for the collection’s rescue with explorations of the medieval documents themselves—letters and poems, wills and marriage contracts, Bibles, money orders, fiery dissenting religious tracts, fashion-conscious trousseaux lists, prescriptions, petitions, and mysterious magical charms. Presenting a pan­oramic view of almost a thousand years of vibrant Mediterranean Judaism, Adina Hoffman and Peter Cole bring contemporary readers into the heart of this little-known trove, whose contents have rightly been dubbed “the Living Sea Scrolls.” Part biography, part meditation on the supreme value the Jewish people has long placed in the written word, Sacred Trash is above all a gripping tale of adventure and redemption. (With black-and-white illustrations throughout.)
A director reveals the original inspirations for his films, their history, his methods of work, and the problems of visual creativity
Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.
This suspenseful novel portrays a community--and a family--under siege, during the shocking string of murders of black children in Atlanta in the early 1980s. Written over a span of twelve years, and edited by Toni Morrison, who calls Those Bones Are Not My Child the author's magnum opus, Toni Cade Bambara's last novel leaves us with an enduring and revelatory chronicle of an American nightmare. Having elected its first black mayor in 1980, Atlanta projected an image of political progressiveness and prosperity. But between September 1979 and June 1981, more than forty black children were kidnapped, sexually assaulted, and brutally murdered throughout "The City Too Busy to Hate." Zala Spencer, a mother of three, is barely surviving on the margins of a flourishing economy when she awakens on July 20, 1980 to find her teenage son Sonny missing. As hours turn into days, Zala realizes that Sonny is among the many cases of missing children just beginning to attract national attention. Growing increasingly disillusioned with the authorities, who respond to Sonny's disappearance with cold indifference, Zala and her estranged husband embark on a desperate search. Through the eyes of a family seized by anguish and terror, we watch a city roiling with political, racial, and class tensions.
Literary Nonfiction. California Interest. Women's Studies. Film. Memoir. THE BIG LOVE is a Hollywood nightmare. It tells the story of Errol Flynn--a fading, alcoholic movie star--and the underage dancer-actress Beverly Aadland. The narrator? Beverly Aadland's fame-worshiping mother Mrs. Florence Aadland, who spurs the relationship on. There is nothing subtle or sympathetic about this memoir: It is outrageous, grotesque, surreal, notorious--an intimate look at Hollywood exploitation and decay. On the one hand, THE BIG LOVE depicts the deterioration of Errol Flynn, an actor who is quickly losing relevance after years of playing irresistible swashbucklers in films such as Captain Blood (1935) and The Adventures of Robin Hood (1938). He is riddled with medical problems, drinking himself to death. On the other hand, there is Mrs. Florence Aadland, also an alcoholic, an uncultured stage mother psychotically pushing her daughter Beverly forward even at the cost of her own marriage. A bizarre, seedy time capsule of the 1950s, THE BIG LOVE is the long-lost literary sister of Barbara Payton's I AM NOT ASHAMED. And, after languishing out of print for years, it is ready to shock brand new audiences with its absurd humor, villainous characters, and sickly dissipation.
The Advocate is a lesbian, gay, bisexual, transgender (LGBT) monthly newsmagazine. Established in 1967, it is the oldest continuing LGBT publication in the United States.