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Legends of Hollywood: The Life and Legacy of Gr...
9,95 € *
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Her instinct, her mastery over the machine, was pure witchcraft. I cannot analyze this woman's acting. I only know that no one else so effectively worked in front of a camera. (Bette Davis) Of all the great movie stars, there may be none more enigmatic than Greta Garbo, who remains internationally famous despite the fact her life and career raise more questions than answers. How did a Swedish actress with very little film acting experience in her native land arrive in the United States and achieve instant stardom? Most actresses had to wait years before they were offered starring roles in major films, yet Garbo was ushered to the front of the line and perched atop the MGM pantheon at a time in which it was the studio par excellence. How was she able to transition from silent films to "talkies" so fluidly, giving many of her most decorated performances during the 1930s? While stars like Charlie Chaplin never recovered from cinema's transition to synchronized sound, Garbo flourished, which is made all the more amazing by the fact that she had a foreign accent that could easily have alienated American audiences and threatened her career. Finally, and perhaps most mystifying of all, why would Garbo retire in 1941, at just 36 years of age, and two years removed from Ninotchka, arguably her most acclaimed film? As unique as Greta Garbo and her career were, there is no denying the impact that she had on audiences, both critics and working-class viewers. Not only was she the most lucrative star in the country by 1928, she also provoked awe from some of the most venerable film and cultural theorists, who attempted to articulate exactly what it was about her that proved so arresting. 1. Language: English. Narrator: Deborah Fennelly. Audio sample: http://samples.audible.de/bk/acx0/038163/bk_acx0_038163_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 07.08.2020
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American Legends: The Life of Jean Arthur , Hör...
9,95 € *
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At the peak of the Golden Era of Hollywood, one of the film industry's most popular genres was the screwball comedy, making stars out of young actresses like Jean Harlow and helping pave the way for future ones like Marilyn Monroe. But at the height of the era of the screwball comedy, the actress most associated with them was Jean Arthur, whose ability to portray everyday women made her incredibly popular in the 1930s and 1940s. As one critic put it, "No one was more closely identified with the screwball comedy than Jean Arthur. So much was she part of it, so much was her star personality defined by it, that the screwball style itself seems almost unimaginable without her." Her seemingly effortless abilities helped get her cast in some of legendary director Frank Capra's most famous films, including Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. Capra's films were some of the most critically acclaimed and popular of Depression-era America thanks to viewers being able to relate to the characters, and Arthur was integral in this, as film critic Charles Chaplin once explained, "To at least one teenager in a small town (though I'm sure we were a multitude), Jean Arthur suggested strongly that the ideal woman could be - ought to be - judged by her spirit as well as her beauty...The notion of the woman as a friend and confidante, as well as someone you courted and were nuts about, someone whose true beauty was internal rather than external, became a full-blown possibility as we watched Jean Arthur." Arthur was an Oscar nominated actress and one of the richest women in the country in the mid-1940s, but she nevertheless retired after her contract with Columbia ended in 1944. While that seems like an odd decision, Arthur was notorious for wanting to avoid the spotlight and Hollywood's celebrity culture, which led to her being branded a recluse. 1. Language: English. Narrator: Diane Lehman. Audio sample: http://samples.audible.de/bk/acx0/034956/bk_acx0_034956_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 07.08.2020
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Nerves in Patterns on a Screen
31,90 CHF *
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Movies offer us images (and usually sounds) that 'thr[ow our] nerves in patterns on a screen' (Eliot). In other words, they express the neurological hyperactivity of modern subjects. Films are affect machines, in this respect. Each has its own heartbeat (narrative highs and lows), dramatic expansions and contractions (montage), and changing patterns and light (cinematography). Viewers engage with these affect machines viscerally, such that we are like Charlie Chaplin who dives into the machine in Modern Times. As we move through these affect machines we identify with some characters and empathize with others and, in the process, engage in something dynamic and experiential. When the credits roll and the lights go up, we find ourselves suddenly out of this affect machine and, in many cases, restored, rejuvinated, ready to face (and/or challenge) the world again. In its overdetermined status as a modern art form generated by modern technologies and focused on modern dilemmas (even if the narrative takes place in ancient times, the themes are translated in ways that engage modern viewers), cinema exists in a web-like, rhizomic relationship with modernity. Rhizomes are like converging root systems all tangled together. They are non-hierarchical but interrelated in 'random, unregulated networks in which any element may be connected with any other element' (Bogue 107). Films are, themselves, rhizomes of form and content. In addition, they are rhizomes that not only arise out of modernity but also interact with modernity and within individuals in extended web-like relationships. The following chapters looks at films that have made impacts both in the history of film and, more broadly, in historical events of the Twentieth Century. Each chapter explores the ways in which modernity (the socio-historical, economic, and cultural context of the films) intersects with film content (character, plot, and various mise-en-scène elements that are part of the film's narrative) and with cinematic form (camera angles, shot types, editing, lighting, sound, and other cinematic elements that are not part of the story itself) in web-like, rhizomic relationships. The chapters are organized diachronically, for the most part, following the evolution of cinematic form from 1895 to the present. At the same time, each chapter will consider the diachronic (across linear time) dynamic whereby films influenced their time and vice-versa. By looking at the way audience's own understanding of characters or events were (and continue to be) influenced by, for instance, German Expressionistic settings or Russian Formalist montage, we can learn a lot about how subjects were (and continue to be) 'directed' to see the world and to view themselves in it. By honing this ability to view films critically and consciously through a study of over 20 important films produced from 1895-2013, we can begin to identify the elements that have made film among the most powerful art forms of the 20th century. Table of Contents Introduction Chapter 1 Arts of Exposure: From Still Photography to Way Down East Chapter 2 German Expressionism and The Cabinet of Dr. Caligari: Chapter 3 Irrational Exuberance and the American Dream in Post-WWI American Melodrama: The Kid and The Jazz Singer Chapter 4 Formalism and Surrealism: Exposing Cuts in Battleship Potemkin and Andalusian Dog Chapter 5 From Mass Hypnosis to Mass Genocide: Triumph of the Will and Night and Fog Chapter 6 Restorative Fictions and the Convulsive Realities They Obscure: Stagecoach and Dakota 38 Chapter 7 Deep Focus in a Hall of Mirrors: The Hollow Core of Citizen Kane Chapter 8 Double Vision: The Truth about Lies in Alfred Hitchcock's Shadow of a Doubt and Maya Deren's Meshes in the Afternoon Chapter 9 Melodrama and Modernism: Chapter 10 Mirrors and Masks in Cléo from 5-7 and Black Girl Chapter 11 (Mis)representations and (Re)presentations of Race in Crash and 12 Years a Slave

Anbieter: Orell Fuessli CH
Stand: 07.08.2020
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100 Essential Silent Film Comedies
58,90 CHF *
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From the moment films were first produced, comedy has been a key feature of cinema. From just before the turn of the twentieth century until the early 1930s, audiences celebrated the brilliant humor of cinematic clowns who left their marks forever. We still remember-and laugh at-the hilarious antics of Laurel and Hardy, Buster Keaton, Harold Lloyd, and many others. In 100 Essential Silent Film Comedies James Roots identifies the major comedic motion pictures produced in the first few decades of the twentieth century. With a lucid and lively style, Roots takes a look at more than 400 silent comedies and narrows the list to 100 that viewers should consider. Each entry includes cast and crew information, a synopsis, critical evaluation, and additional commentary-all to demonstrate why that particular film is essential viewing. The films range from 70 seconds to full-length features and even include some of the earliest produced films, starting in 1894. In addition to citing Hollywood's finest, the book profiles comedies from around the world, including selections from the United Kingdom, France, Japan and Russia. More than seventy silent comedians from Charlie Chaplin to Max Linder are represented in these selections, and the book celebrates such established classics as The General and Safety Last-as well as relatively obscure one-reelers. Including information about DVD availability, 100 Essential Silent Film Comedies is an invaluable resource that provides both scholars and general film fans a list of entertaining films to explore.

Anbieter: Orell Fuessli CH
Stand: 07.08.2020
Zum Angebot
Nerves in Patterns on a Screen
27,49 € *
ggf. zzgl. Versand

Movies offer us images (and usually sounds) that 'thr[ow our] nerves in patterns on a screen' (Eliot). In other words, they express the neurological hyperactivity of modern subjects. Films are affect machines, in this respect. Each has its own heartbeat (narrative highs and lows), dramatic expansions and contractions (montage), and changing patterns and light (cinematography). Viewers engage with these affect machines viscerally, such that we are like Charlie Chaplin who dives into the machine in Modern Times. As we move through these affect machines we identify with some characters and empathize with others and, in the process, engage in something dynamic and experiential. When the credits roll and the lights go up, we find ourselves suddenly out of this affect machine and, in many cases, restored, rejuvinated, ready to face (and/or challenge) the world again. In its overdetermined status as a modern art form generated by modern technologies and focused on modern dilemmas (even if the narrative takes place in ancient times, the themes are translated in ways that engage modern viewers), cinema exists in a web-like, rhizomic relationship with modernity. Rhizomes are like converging root systems all tangled together. They are non-hierarchical but interrelated in 'random, unregulated networks in which any element may be connected with any other element' (Bogue 107). Films are, themselves, rhizomes of form and content. In addition, they are rhizomes that not only arise out of modernity but also interact with modernity and within individuals in extended web-like relationships. The following chapters looks at films that have made impacts both in the history of film and, more broadly, in historical events of the Twentieth Century. Each chapter explores the ways in which modernity (the socio-historical, economic, and cultural context of the films) intersects with film content (character, plot, and various mise-en-scène elements that are part of the film's narrative) and with cinematic form (camera angles, shot types, editing, lighting, sound, and other cinematic elements that are not part of the story itself) in web-like, rhizomic relationships. The chapters are organized diachronically, for the most part, following the evolution of cinematic form from 1895 to the present. At the same time, each chapter will consider the diachronic (across linear time) dynamic whereby films influenced their time and vice-versa. By looking at the way audience's own understanding of characters or events were (and continue to be) influenced by, for instance, German Expressionistic settings or Russian Formalist montage, we can learn a lot about how subjects were (and continue to be) 'directed' to see the world and to view themselves in it. By honing this ability to view films critically and consciously through a study of over 20 important films produced from 1895-2013, we can begin to identify the elements that have made film among the most powerful art forms of the 20th century. Table of Contents Introduction Chapter 1 Arts of Exposure: From Still Photography to Way Down East Chapter 2 German Expressionism and The Cabinet of Dr. Caligari: Chapter 3 Irrational Exuberance and the American Dream in Post-WWI American Melodrama: The Kid and The Jazz Singer Chapter 4 Formalism and Surrealism: Exposing Cuts in Battleship Potemkin and Andalusian Dog Chapter 5 From Mass Hypnosis to Mass Genocide: Triumph of the Will and Night and Fog Chapter 6 Restorative Fictions and the Convulsive Realities They Obscure: Stagecoach and Dakota 38 Chapter 7 Deep Focus in a Hall of Mirrors: The Hollow Core of Citizen Kane Chapter 8 Double Vision: The Truth about Lies in Alfred Hitchcock's Shadow of a Doubt and Maya Deren's Meshes in the Afternoon Chapter 9 Melodrama and Modernism: Chapter 10 Mirrors and Masks in Cléo from 5-7 and Black Girl Chapter 11 (Mis)representations and (Re)presentations of Race in Crash and 12 Years a Slave

Anbieter: Thalia AT
Stand: 07.08.2020
Zum Angebot
100 Essential Silent Film Comedies
56,70 € *
ggf. zzgl. Versand

From the moment films were first produced, comedy has been a key feature of cinema. From just before the turn of the twentieth century until the early 1930s, audiences celebrated the brilliant humor of cinematic clowns who left their marks forever. We still remember-and laugh at-the hilarious antics of Laurel and Hardy, Buster Keaton, Harold Lloyd, and many others. In 100 Essential Silent Film Comedies James Roots identifies the major comedic motion pictures produced in the first few decades of the twentieth century. With a lucid and lively style, Roots takes a look at more than 400 silent comedies and narrows the list to 100 that viewers should consider. Each entry includes cast and crew information, a synopsis, critical evaluation, and additional commentary-all to demonstrate why that particular film is essential viewing. The films range from 70 seconds to full-length features and even include some of the earliest produced films, starting in 1894. In addition to citing Hollywood's finest, the book profiles comedies from around the world, including selections from the United Kingdom, France, Japan and Russia. More than seventy silent comedians from Charlie Chaplin to Max Linder are represented in these selections, and the book celebrates such established classics as The General and Safety Last-as well as relatively obscure one-reelers. Including information about DVD availability, 100 Essential Silent Film Comedies is an invaluable resource that provides both scholars and general film fans a list of entertaining films to explore.

Anbieter: Thalia AT
Stand: 07.08.2020
Zum Angebot