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Vienna has been the locale for nearly one hundred and fifty films and television productions in English, from 1920s through the first years of this century, with imaginative representations of Freud, Strauss, Franz Josef, Mozart, Beethoven, and Klimt; mad scientists, assassins, spies, refugees, romantics, and American professors; historical dramas, cartoons, documentaries, and Hitchcock's only musical comedy. The "City of Dreams" has appeared as an imperial court, a center of scientific and medical research, a Jewish and Catholic homeland, a locus of international espionage and domestic crime, the destination for innocents abroad, the birthplace of the waltz, a stage for performances and performers, and the site for romantic rendezvous. For many in English-language audiences, such productions have constituted the most significant representations of Vienna, a city that historically has been the capital of one of Europe's largest empires, one of the most important centers for classical music and opera, both a victim and an accomplice of Nazi Germany, and the home of international diplomacy. Cultural historians and Austrian writers have provided significant commentary on the city, but their influence has seldom reached such an extensive audience as the films and television productions screening Vienna for English-language audiences. Screening Vienna thus analyzes the representation of Vienna and the Viennese in English-language film and television, reviews the critical reception of these productions, and measures the representations against the cultural and historical contexts and the writings of contemporary Austrian writers.The book is unique in its scope (over one hundred and fifty productions from the 1920s to 2013) and in its inclusion of leading reviews of many films, references to cultural and historical studies of Vienna, and references to modern and contemporary Austrian fiction.Thus the analysis is more extensive in its coverage and more intensive in its analysis of each film than any previous study, with a focus on scene, language, plot, characterization, and the reception of these films. Scholars and students in American cultural studies, film studies, Austrian and Viennese history, and popular culture will find the book informative and essential for studies of Vienna in the American and British imagination. Given the extensive coverage and filmography, many libraries should also view the book as a reference work, in addition to its status in cultural and film studies. The book will also be useful for film studies and American popular culture studies courses at advanced or graduate level.
Krimi. A member of the homicide department of the people's militia, State Security Officer Brano Sev is sent to the village of his birth to interrogate a potential defector, but his mission is complicated by a murder in which he becomes the prime suspect
In the wake of a series of murders involving covert intelligence informers, Delta Force Lieutenant Colonel Charley Castillo wonders about vague similarities between the killings and a recent case involving a pair of CIA traitors, a situation that is further complicated by an arms dealer's prediction that the deaths are linked to Kremlin activities. 400,000 first printing.
A Times Literary Supplement Book of the Year, chosen by Tom Stoppard "A revelation."—Marc Weingarten, Washington Post Acclaimed film director Billy Wilder’s early writings—brilliantly translated into English for the first time Before Billy Wilder became the screenwriter and director of iconic films like Sunset Boulevard and Some Like It Hot, he worked as a freelance reporter, first in Vienna and then in Weimar Berlin. Billy Wilder on Assignment brings together more than fifty articles, translated into English for the first time, that Wilder (then known as "Billie") published in magazines and newspapers between September 1925 and November 1930. From a humorous account of Wilder's stint as a hired dancing companion in a posh Berlin hotel and his dispatches from the international film scene, to his astute profiles of writers, performers, and political figures, the collection offers fresh insights into the creative mind of one of Hollywood’s most revered writer-directors. Wilder’s early writings—a heady mix of cultural essays, interviews, and reviews—contain the same sparkling wit and intelligence as his later Hollywood screenplays, while also casting light into the dark corners of Vienna and Berlin between the wars. Wilder covered everything: big-city sensations, jazz performances, film and theater openings, dance, photography, and all manner of mass entertainment. And he wrote about the most colorful figures of the day, including Charlie Chaplin, Cornelius Vanderbilt, the Prince of Wales, actor Adolphe Menjou, director Erich von Stroheim, and the Tiller Girls dance troupe. Film historian Noah Isenberg's introduction and commentary place Wilder’s pieces—brilliantly translated by Shelley Frisch—in historical and biographical context, and rare photos capture Wilder and his circle during these formative years. Filled with rich reportage and personal musings, Billy Wilder on Assignment showcases the burgeoning voice of a young journalist who would go on to become a great auteur.
Henry Mancini's Peter Gunn theme. Lalo Schifrin's Mission: Impossible theme. Isaac Hayes' theme from Shaft. These iconic melodies have remained a part of the pop culture landscape since their debuts back when movie studios and TV production companies employed full orchestral ensembles to provide a jazz backdrop for the suspenseful adventures of secret agents, private detectives, cops, spies and heist-minded criminals. Hundreds of additional films and television shows made from the mid-1950s and beyond have been propelled by similarly swinging title themes and underscores, many of which have (undeservedly) faded into obscurity. This meticulously researched book begins with Hayes' game-changing music for Shaft, and honors the careers of traditional jazz composers who--as the 1970s gave way to the '80s and beyond--resolutely battled against the pernicious influx of synth, jukebox scores and a growing corporate disinterest in lavish ensembles. Fans frustrated by the lack of attention paid to jazz soundtrack composers--including Mort Stevens, Laurie Johnson, Mike Post, Earle Hagen, David Shire, Elmer Bernstein and many, many others--will find solace in these pages (along with all the information needed to enhance one's music library). But this is only half the story; the saga's origins are discussed in this book's companion volume, Crime and Action Jazz on Screen: 1950-1970.
This book looks at the origins and growth of television through the pages of TV Guide and covers the complete run of this American icon from the first guides in 1953 to the last issue in guide format on October 9, 2005. It includes full color reproductions of every cover ever printed, and is both a collector's guide with pricing included, and a retrospective view of the medium.