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Over the last five decades, the films of director Brian De Palma (b. 1940) have been among the biggest successes (The Untouchables; Mission: Impossible) and the most high-profile failures (The Bonfire of the Vanities) in Hollywood history. De Palma helped launch the careers of such prominent actors as Robert De Niro, John Travolta, and Sissy Spacek (who was nominated for an Academy Award as Best Actress in Carrie). Indeed, Quentin Tarantino named Blow Out as one of his top three favorite films, praising De Palma as the best living American director. Picketed by feminists protesting its depictions of violence against women, Dressed to Kill helped to create the erotic thriller genre. Scarface, with its over-the-top performance by Al Pacino, remains a cult favorite. In the twenty-first century, De Palma has continued to experiment, incorporating elements from videogames (Femme Fatale), tabloid journalism (The Black Dahlia), YouTube, and Skype (Redacted and Passion) into his latest works. What makes De Palma such a maverick even when he is making Hollywood genre films? Why do his movies often feature megalomaniacs and failed heroes? Is he merely a misogynist and an imitator of Alfred Hitchcock? To answer these questions, author Douglas Keesey takes a biographical approach to De Palma's cinema, showing how De Palma reworks events from his own life into his films. Written in an accessible style and including a chapter on every one of his films to date, this book is for anyone who wants to know more about De Palma's controversial films or who wants to better understand the man who made them.
Analyzing an eclectic history of film and related media, Split Screen Nation argues that popular visions of the American West and the American South must be thought in relation to one another if we are to fully understand the marks both have left on popular ways of imagining the U.S.
Explores the historical evolution of Belgian cinema as well as its contemporary situation within the evolving contexts of global media and European unity.
The updated guide to the newest graphing calculator from Texas Instruments The TI-Nspire graphing calculator is popular among high school and college students as a valuable tool for calculus, AP calculus, and college-level algebra courses. Its use is allowed on the major college entrance exams. This book is a nuts-and-bolts guide to working with the TI-Nspire, providing everything you need to get up and running and helping you get the most out of this high-powered math tool. Texas Instruments’ TI-Nspire graphing calculator is perfect for high school and college students in advanced algebra and calculus classes as well as students taking the SAT, PSAT, and ACT exams This fully updated guide covers all enhancements to the TI-Nspire, including the touchpad and the updated software that can be purchased along with the device Shows how to get maximum value from this versatile math tool With updated screenshots and examples, TI-Nspire For Dummies provides practical, hands-on instruction to help students make the most of this revolutionary graphing calculator.
Contents: Eye on the Split Screen: the fragmentary nature of the new television; the changing relationship between viewers and TV set; how broadcasting can and cannot be expected to promote national sovereignty. Back to the
“A fast-moving account of the era bookended by Stranger Than Paradise and Pulp Fiction . . . [a] Baedeker of off-Hollywood where all roads lead to Park City.” —Interview The legendary figure who launched the careers of Spike Lee, Michael Moore, and Richard Linklater offers a no-holds-barred look at the deals and details that propel an indie film from a dream to distribution. At the epicenter of the industry in the 1980s and ’90s, John Pierson reveals what it took to launch such films as Stranger Than Paradise, Clerks, She’s Gotta Have It, and Roger and Me. A chronicle of a remarkable decade for the American independent low-budget film, Spike, Mike, Slackers & Dykes also celebrates the nearly two dozen first-time filmmakers whom Pierson helped make a name for themselves and the hundred others whose success stories he observed at close quarters. “John Pierson has faithfully chronicled the American independent scene. He was there, he knows.” —Spike Lee “Sly, knowledgeable, deeply entertaining . . . You couldn’t do much better than to hop aboard this ten-year wild ride. Grade: A.” —Entertainment Weekly “The most contentiously witty and revealing view of off-Hollywood around.” —Rolling Stone “Mr. Pierson, who has lived, breathed, and hunted film for most of his adult life, covers his territory with urgency and conviction, and his single-mindedness is ravishing.” —The New York Times Book Review “Pierson’s prose is quick-moving and witty and reads like a Who’s Who of the off-Hollywood mavericks who make the movies we’d like to see but can’t always find.” —The Washington Post “A marvelously entertaining, educational, and caustic account of the rise of American independent filmmaking.” —The Globe and Mail
Shin Sang-ok (1926–2006) was arguably the most important Korean filmmaker of the postwar era. Over seven decades, he directed or produced nearly 200 films, including A Flower in Hell (1958) and Pulgasari (1985), and his career took him from late-colonial Korea to postwar South and North Korea to Hollywood. Notoriously crossing over to the North in 1978, Shin made a series of popular films under Kim Jong-il before seeking asylum in 1986 and resuming his career in South Korea and Hollywood. In Split Screen Korea, Steven Chung illuminates the story of postwar Korean film and popular culture through the first in-depth account in English of Shin’s remarkable career. Shin’s films were shaped by national division and Cold War politics, but Split Screen Korea finds surprising aesthetic and political continuities across not only distinct phases in modern South Korean history but also between South and North Korea. These are unveiled most dramatically in analysis of the films Shin made on opposite sides of the DMZ. Chung explains how a filmmaking sensibility rooted in the South Korean market and the global style of Hollywood could have been viable in the North. Combining close readings of a broad range of films with research on the industrial and political conditions of Korean film production, Split Screen Korea shows how cinematic styles, popular culture, and intellectual discourse bridged the divisions of postwar Korea, raising new questions about the implications of political partition.
Two books in one tell of sixteen-year-old friends Russel, who is gay, and Min, who is bisexual, as they face separate romantic troubles while working as extras on the set of a horror movie.
Screen is a full-screen window manager that multiplexes a physical terminal between several processes, typically interactive shells. Each virtual terminal provides the functions of the DEC VT100 terminal and, in addition, several control functions from the ISO 6429 (ECMA 48, ANSI X3.64) and ISO 2022 standards (e.g. insert/delete line and support for multiple character sets). There is a scrollback history buffer for each virtual terminal and a copyand-paste mechanism that allows the user to move text regions between windows.