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DIVA struggling actor’s last chance becomes an unforgettable Roman holiday/divDIV World War II derailed John Andrus’s acting career. Marred by a facial scar and burdened by a new family, Andrus works for NATO in Paris. A producer from his past shows up with an attractive acting job—involving two weeks in Rome and a hefty salary. How can he pass it up?/divDIV /divDIVIn Rome, Andrus quickly realizes that the job is not at all what he expected. Bounced between movie sets, directors, producers, and women, he grows more uncertain of his future with each passing day. /divDIV /divDIVThis ebook features an illustrated biography of Irwin Shaw including rare images and never-before-seen documents from the author’s estate./div
Widely known for innovative films like Meet Me in St. Louis, An American in Paris, and The Band Wagon, Vincente Minnelli also directed classic film comedies like Father of the Bride and Designing Woman, and melodramas such as The Bad and the Beautiful and Some Came Running. Though his work is beloved by filmmakers and audiences alike, Minnelli has nonetheless received very little critical attention in English. Vincente Minnelli: The Art of Entertainment remedies this imbalance, offering the first-ever comprehensive and scholarly examination of Minnelli's career within a variety of discourses and methods. Bringing together a number of previously uncollected and untranslated essays by some of the most important scholars and critics in North America, Australia, and Europe, Vincente Minnelli: The Art of Entertainment places Minnelli's cinema in its rightful position at the forefront of film history. In essays written over the last five decades, as well as a number of new essays commissioned especially for this volume, contributors consider Minnelli from a number of perspectives from auteurism to genre studies and psychoanalysis to close textual analysis. The volume is divided into four chronological sections, Minnelli in the 1960s: The Rise and Fall of an Auteur; The 1970s and 1980s: Genre, Psychoanalysis, and Close Readings; The 1990s: Matters of History, Culture, and Sexuality; and Minnelli Today: The Return of the Artist. An introduction by Joe McElhaney addresses the history of the reception of Minnelli's films, situating this reception within larger questions of film theory, criticism, and aesthetics. Too often dismissed as little more than a stylist dependent on the resources of the studio system and the structures of genre, Vincente Minnelli deserves a second look from serious film scholars. Vincente Minnelli: The Art of Entertainment demonstrates the remarkable and sustained rigor of Minnelli's vision and will appeal to students and teachers of film studies as well as fans of Minnelli's work.
The Death of Classical Cinema uncovers the extremely rich yet insufficiently explored dialogue between classical and modernist cinema, examining the work of three classical filmmakers—Alfred Hitchcock, Fritz Lang, and Vincente Minnelli—and the films they made during the decline of the traditional Hollywood studio system. Faced with the significant challenges posed by alternative art cinema and modernist filmmaking practices in the early 1960s, these directors responded with films that were self-conscious attempts at keeping pace with the developments in film modernism. These films—Lang's The Thousand Eyes of Dr. Mabuse, Hitchcock's Marnie, and Minnelli's Two Weeks in Another Town—were widely regarded as failures at the time and bolstered critics' claims concerning the irrelevance of their directors in relation to contemporary filmmaking. However, author Joe McElhaney sheds new light on these films by situating them in relation to such acclaimed modernist works of the period as Godard's Contempt, Fellini's La dolce vita, Antonioni's Red Desert, and Resnais's Last Year at Marienbad. He finds that these modernist films, rather than being diametrically opposed in form to the work of Hitchcock, Lang, and Minnelli, are in fact profoundly linked to them.
“Spend the day in bed” with Autobiography by Morrissey, whose new album Low in High School is out November 17th Steven Patrick Morrissey was born in Manchester on May 22nd 1959. Singer-songwriter and co-founder of the Smiths (1982–1987), Morrissey has been a solo artist for twenty-six years, during which time he has had three number 1 albums in England in three different decades. Achieving eleven Top 10 albums (plus nine with the Smiths), his songs have been recorded by David Bowie, Nancy Sinatra, Marianne Faithfull, Chrissie Hynde, Thelma Houston, My Chemical Romance and Christy Moore, amongst others. An animal protectionist, in 2006 Morrissey was voted the second greatest living British icon by viewers of the BBC, losing out to Sir David Attenborough. In 2007 Morrissey was voted the greatest northern male, past or present, in a nationwide newspaper poll. In 2012, Morrissey was awarded the Keys to the City of Tel-Aviv. It has been said “Most pop stars have to be dead before they reach the iconic status that Morrissey has reached in his lifetime.”
Vincente Minnelli, Hollywood's Dark Dreamer is the first full-length biography of Vincente Minnelli, one of the most legendary and influential directors in the twentieth century, encompassing his life, his art, and his artistry. Minnelli started out as a set and costume designer in New York, where he first notably applied his aesthetic principles to the Broadway stage design of Scheherazade. He became the first director of New York's Radio City Music Hall, as well as some of the most lavish Broadway musicals, including Ziegfeld Follies, and brought Josephine Baker back from Paris to star in his shows. As a film director, he discovered Lena Horne in a Harlem nightclub and cast her in his first movie, the legendary musical Cabin in the Sky. The winner of the Director Oscar for Gigi, the first film to win in all nine of its Oscar nominations, Minnelli directed such classics as the Oscar-winning An American in Paris, Meet Me in St. Louis, Father of the Bride, The Bad and the Beautiful, and Some Came Running. He was married to Judy Garland, who he met on the set of Meet Me in St. Louis and directed in such landmark films as The Clock; their daughter is actress-singer Liza Minnelli.
He was the acclaimed director of such cinematic classics as Meet Me in St. Louis, An American in Paris, and Gigi, and equally well known for his tumultuous marriage to the legendary Judy Garland. But to say that Vincente Minnelli's conflicted personal life informed his films would be an understatement. As Mark Griffin persuasively demonstrates in this definitive biography of the Academy Award winning director, Minnelli was not only building a remarkable Hollywood legacy, but also creating an intriguing autobiography in code. Drawing on more than 100 interviews with such icons as Kirk Douglas, Angela Lansbury, Lauren Bacall, Tony Curtis, and George Hamilton, Griffin turns the spotlight on the enigmatic ''elegant director, '' revealing long-kept secrets at the heart of Minnelli's genius.
Reflexivity refers to those moments in fiction and film when the work suddenly calls attention to itself as a fictional construct. For example, in literature a character might suddenly step out of the story and address the reader.
The long 1950s, which extend back to the early postwar period and forward into the early 1960s, were a period of “containment culture” in America, as the media worked to reinforce traditional family values and suspected communist sympathizers were blacklisted from the entertainment industry. Yet some brave filmmakers and actors still challenged the status quo to produce indelible and imaginative work that delivered uncomfortable truths to Cold War audiences. Triumph Over Containment offers an uncompromising look at some of the era’s greatest films and directors, from household names like Alfred Hitchcock and Stanley Kubrick to lesser-known iconoclasts like Samuel Fuller and Ida Lupino. Taking in everything from The Thing from Another World (1951) to Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), acclaimed film scholar Robert P. Kolker scours a variety of different genres to find pockets of resistance to the repressive and oppressive norms of Cold War culture. He devotes special attention to two quintessential 1950s genres—the melodrama and the science fiction film—that might seem like polar opposites, but each offered pointed responses to containment culture. This book takes a fresh look at such directors as Nicholas Ray, John Ford, and Orson Welles, while giving readers a new appreciation for the depth and artistry of 1950s Hollywood films.
Scoring the Hollywood Actor in the 1950s theorises the connections between film acting and film music using the films of the 1950s as case studies. Closely examining performances of such actors as James Dean, Montgomery Clift, and Marilyn Monroe, and films of directors like Elia Kazan, Douglas Sirk, and Alfred Hitchcock, this volume provides a comprehensive view of how screen performance has been musicalised, including examination of the role of music in relation to the creation of cinematic performances and the perception of an actor’s performance. The book also explores the idea of music as a temporal vector which mirrors the temporal vector of actors’ voices and movements, ultimately demonstrating how acting and music go together to create a forward axis of time in the films of the 1950s. This is a valuable resource for scholars and researchers of musicology, film music and film studies more generally.
This 1993 book examines the career of Vincente Minnelli, MGM's leading director of musicals, melodramas, and comedies in the 1940s and 1950s.