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Natalie Conway should be thrilled at the prospect of covering the Cannes Film Festival. She's desperate to revive her struggling career, she's passionate about movies, and Cannes is the heart and soul of cinematic glamour and tradition, the place where film legends are born, made, or left withering on the vine. But Cannes is in France, and going to France means facing painful memories of Nattie's brief childhood in Paris and the bizarre accident that killed her mother and forced her mother's lover, Michel Claudel, to ship Nattie off to the New Mexico desert to live with a father she had never met. So France is Nattie's personal nightmare -- but with the bank foreclosing on her house in Los Angeles, it is a nightmare she must finally face. The moment she sets foot in Paris, Nattie's past hits her with the force of a mistral wind. Long-forgotten sights and fragrances and the melody of the language stir up hazy recollections of her mother and Claudel. And then she's whisked away to Cannes and engulfed by the film festival, juggling movies, celebrities, her demanding editor, a seductive ex-lover, and a reckless starlet hell-bent on providing juicy copy.When Nattie discovers a mysterious link between her mother and a mercurial French director named Jacques Vidanne, she turns to the only man she can trust, with questions that may be too painful to answer. Accustomed as she is to digging into the lives of movie stars, she finds that digging into her own life threatens to unravel her reality. In the end, she must make a choice -- to move forward toward her future or to remain in the shadow of her past. The Lumiere Affair is filled with delicious insider movie dish from a seasoned celebrity journalist, but it is also the tender and charming story of a woman's journey to find herself. From California to Corsica, you will fall in love with Nattie Conway and root for her -- all the way to the Martini Shot.
Francesco Casetti believes new media technologies are producing an exciting new era in cinema aesthetics. Whether we experience film in the theater, on our hand-held devices, in galleries and museums, onboard and in flight, or up in the clouds in the bits we download, cinema continues to alter our habits and excite our imaginations. Casetti travels from the remote corners of film history and theory to the most surprising sites on the internet and in our cities to prove the ongoing relevance of cinema. He does away with traditional notions of canon, repetition, apparatus, and spectatorship in favor of new keywords, including expansion, relocation, assemblage, and performance. The result is an innovative understanding of cinema's place in our lives and culture, along with a critical sea-change in the study of the art. The more the nature of cinema transforms, the more it discovers its own identity, and Casetti helps readers realize the galaxy of possibilities embedded in the medium.
Devoted to the consideration of city problems from the steadpoint of the taxpayer and citizen.
From immigrant ghetto love stories such as The Cohens and the Kellys (1926), through romantic comedies including Meet the Parents (2000) and Knocked Up (2007), to television series such as Transparent (2014–), Jewish-Christian couplings have been a staple of popular culture for over a century. In these pairings, Joshua Louis Moss argues, the unruly screen Jew is the privileged representative of progressivism, secular modernism, and the cosmopolitan sensibilities of the mass-media age. But his/her unruliness is nearly always contained through romantic union with the Anglo-Christian partner. This Jewish-Christian meta-narrative has recurred time and again as one of the most powerful and enduring, although unrecognized, mass-culture fantasies. Using the innovative framework of coupling theory, Why Harry Met Sally surveys three major waves of Jewish-Christian couplings in popular American literature, theater, film, and television. Moss explores how first-wave European and American creators in the early twentieth century used such couplings as an extension of modernist sensibilities and the American “melting pot.” He then looks at how New Hollywood of the late 1960s revived these couplings as a sexually provocative response to the political conservatism and representational absences of postwar America. Finally, Moss identifies the third wave as emerging in television sitcoms, Broadway musicals, and “gross-out” film comedies to grapple with the impact of American economic globalism since the 1990s. He demonstrates that, whether perceived as a threat or a triumph, Jewish-Christian couplings provide a visceral, easily graspable, template for understanding the rapid transformations of an increasingly globalized world.
Sir John Appleby dines one evening at Allington Park, the Georgian home of his acquaintance Owain Allington. The evening comes to an end but just as Appleby is leaving, they find a dead man - electrocuted in the son et lumiŠre box which had been installed in the grounds.
First published in 1964. When A Million and One Nights was first published in 1926, it was hailed as "the first complete source book on the motion picture" and its author, Terry Ramsaye, as "the first authentic film historian." The intervening years have established A Million and One Nights as a classic, standard work on the history of the motion picture from the beginning through 1925. The contents of this edition are identical with those of the original two-volume edition.
The Dreyfus Affair’s Literary Politics offers a new interpretation of writers’ political engagements in the crisis that ended the French nineteenth century, following the wrongful treason conviction of Captain Alfred Dreyfus. Émile Zola and three writers connected to him – Ferdinand Brunetière, Henry Céard and Saint-Georges de Bouhélier – drew on their affinities and antagonisms concerning Zola’s naturalist fiction to shape their political discourse in the Dreyfus Affair. Zola and Bouhélier were Dreyfusard, Brunetière and Céard anti-Dreyfusard, yet in each case they transformed a vision of what literature should be into arguments about French national identity, the proper relationship between literary and political thought, and the tensions between individual rights and raison d’état. Developing a method entitled ‘microhistories of ideas,’ Cooke shows that a longitudinal approach to each writer’s career yields a set of central unit-ideas that reappear in the new, emotive context of the Affair. Through close readings of material such as pamphlets, newspaper columns and aesthetic essays, the significance of often ephemeral writing to the larger questions of intellectual history – and to the outcome of the Dreyfus Affair itself - becomes clear.
Volume one of a comprehensive series on the Dreyfus Affair, this account chronicles for the first time in English and day by day, the drama that destabilized French society (1894-1906) and reverberated across the world. A deliberate miscarriage of justice, the public degradation of an innocent Jewish officer and his incarceration on Devil's Island, espionage, intrigue, media pressure, vehement antisemitism and political skulduggery - topics so relevant to our times - are set within a broad historical context. Meticulous research, new translations of key documents, a wealth of primary sources and illustrations and a select bibliography make this an indispensable reference work.
This title was first published in 2000: The printed writings of the most important authors of the sixteenth century are characterised by frequent references to current affairs. This collection brings together essays by literary scholars and historians of the era to discuss various ways in which those writing in the vernacular during the early sixteenth century responded to contemporary events. The papers in this volume also demonstrate how the spread of literacy was of fundamental significance for the economics of book production, and for ways in which political power was exercised and expressed, as well as for the development of new literary forms of critical and occasional writing.