The Most Pleasant and Delectable Questions of Love (The Unabridged Original English Translation)
From reports it must once have been a lovely old city with stone houses and a medieval quarter. Was it Shakespeare, in mad pursuit of a lovely boy and that voluptuous Dark Lady? I wouldnt have dreamed that hydrangeas could look so lovely , except on the bush. It was a lovely morning and they enjoyed their walk very much. It was a lovely evening, very clear and cool, and twilight was sinking upon the scene. Mariana no sooner knew him than she loved; and her love, lovely as she was, soon excited his.
When he reached the village, there was not a man to be seen, but only some lovely women. What makes popcorn pop? What is a bellybutton? Do fish drink? Program Information:. Big questions from little people-- : and simple answers from great minds. Will puberty last my whole life? Ultimate interview : master the art of interview success with s of typical, unusual and industry-specific questions and answers. Williams, Lynn, January author. College admission : simple answers to tough questions about college admissions and financial aid.
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The bipolar handbook for children, teens, and families : real-life questions with up-to-date answers. Divorcing with children expert answers to tough questions from parents and children. Again, for me this book was about self-education. Not at all professionally involved in film when I bought it, I wanted something to help a London art student get more out of the films of Godard, Truffaut, Rohmer, Chabrol and Rivette. And if it was as puzzling in its way as some of the films seemed at the time, then that only intrigued me more, as any introduction to so important a subject should.
Ray, Harvard University Press, In recent decades there has been no more cogent a rethinking of the physical and psychological experience of film as it evolved, both as a technology and as an artform. I want to read it again, soon. Janin, I started reading about cinema in the late s, the heyday of auteurism: the books that I read then formed my taste and have marked me as a certain kind of cinephile and, 40 years on, after the great adventure or misadventure of theory, that is still how I would define myself.
Over the years this little volume must surely have been the Bible for many of us. Another bible can there be two? Alas, only one more book! There are so many wonderful writers out there.
Or Pauline Kael? Or Robert Warshow? Or either of the two wise Gilberts Perez and Adair? The peerless lucidity of his writing about cinema is underscored by a profound moral passion. Indeed, this is true about all the writers on film that I admire most — even the aesthetes and dandies.
Tarkovsky is my all-time favourite director. But while this is fascinating, I sometimes find his statements frustratingly evasive. Yet this is what he had to say about them, and that makes it uniquely valuable. Notes: On the Making of Apocalypse Now! For a while I became obsessed with what must have been the best-documented disaster shoot in film history.
I had the photo of Francis Ford Coppola pointing a revolver at his head up on my office wall the whole time I was writing Corpsing. Louise Brooks was one of the few actresses with absolute integrity. This may have something to do with why she also had the most vivid screen presence. In the absence of a full book on my favourite contemporary film-makers, this pamphlet that came with the DVD Quay Brothers: The Short Films will do very well.
I loved his willingness to find excitement in unexpected places, to do justice to merit when he found it and to write in such a strongly personal voice. This still seems to me the definitive account of the ethos of a studio. Lucid, rigorous and utterly readable. An enthralling account of a man enraptured by cinema, written by another man enraptured by cinema. Tauris, Gives a whole new perspective on the phenomenon of male stardom in British film, wears its theory lightly and is written with wit and perception. Infuriating and stimulating by turns, this is an idiosyncratic inclusion.
It leaves out Phyllis Calvert and includes Audie Murphy, which enrages me, but I read it from cover to cover. Spellbound in Darkness Edited by George C. Pratt, University of Rochester, A loving anthology, with commentary, on the silent cinema. An invitation to discovery on every page, and perhaps the best title for any film book yet published. The nearest we have to a British national filmography was created not by any institute or university but by one man. There is no better stimulus to look at films seriously.
On the other hand, it is also a self-portrait by a brilliant and uncompromising English film-maker. Published to accompany a BFI documentary, this is a beautifully illustrated and very sharp-eyed tour through a century of American cinema by a true obsessive. He is honest and self-lacerating about his own foibles and equally caustic about those of others.
Morbidity and lyricism run side by side as he lays bare his demons. This book is easy to undervalue.
At first glance it looks like a series of nostalgic, fireside chats with actors and film-makers from the good old days of British cinema. However, no one else was doing these interviews. Thirteen years on, many of the interviewees have died. McFarlane did future British historians an extraordinary service by capturing their reminiscences. A book that opens minds to formalism in the fullest and most supple way. So you think you know what intertextuality is? Iampolski, a pre-eminent contemporary Russian theorist, gives a dazzling demonstration of how, when, where and why films quote other films and other media and why we should care.
Has anyone ever written this beautifully about Dovzhenko, Renoir or Straub-Huillet? Writings on film by film-makers form a generally undervalued genre. It will forever change the way we regard his life, work and thought. Fortunately, thanks to the gifted Russian-Australian scholar Julia Vassilieva, this project is on the way. Brenez is our greatest living critic. Emerging from Filmkritik magazine in the late s, this lively pair shaped much future German-language film culture to come with their analyses, programming, teaching and restoration work.
Grafe , in particular, combined a crisp, evocative, Barthesian style with a rigorous eye and brilliant mind. The saddest lacuna of all is Roger Tailleur , an extraordinary prose stylist and encyclopaedic brain who, on a good day, makes Manny Farber seem like Harry Knowles. Ever the disappointed idealist, Agee offered grudging praise to such compromised efforts as Meet Me in St. Louis and Double Indemnity in long, delicately cadenced sentences that would never survive the copy editor now.
Stars back then embodied vital social contradictions — one doubts whether the featureless pretty people of contemporary celebrity would repay so subtle and scrupulous a treatment. For one thing, Perez magnificently vindicates the beauty of illusionism — a salutary attitude after decades of academic militancy that judged it a ruling-class plot. But even more crucially, he understands how every general theory of cinema must start from its concrete particulars as an artform.
A work of transcendent intelligence. These aphoristic memos from the legendary director are often as inscrutable as Zen Buddhist koans, yet reflecting on them can produce a similar enlightenment. Essential reading for anyone curious about the physics and metaphysics of film, this slender volume can be profitably revisited over a lifetime.
A book that revolutionised film studies. Through his sophisticated apologia for melodrama, a despised genre was propelled into the academic spotlight where it has remained ever since. Minh-ha, Routledge, Very little was outside her scope. Hard to pick just one Durgnat. A study that manages to say a lot of fascinating, illuminating things about its subject even though it labours under the handicap that when it was published Hollywood had made almost no films about the Vietnam War.
Like all books I go back to, it has solid information, wide-ranging insight and an elegant, precise, wry prose style. Four little volumes of essays and reviews written in the s and s, published posthumously, that were absolutely formative for the film-makers of the nouvelle vague and for critics ever after. The selective and not very good English translation as What is Cinema?
A much better translation of most of the key essays has recently been published What is Cinema? A Bazin antidote. Harbinger of the theory boom of the s, but much more readable than most of what followed. Thoughts and opinions of the most important and revolutionary film-maker of the past 50 years.
Beautifully edited and translated, but it unfortunately stops just before If debarred, then the edition of the Time Out Film Guide, being less bulky than it has since become. It was written over 30 years ago, yet remains the most lucid and critically coherent account of American avant-garde film. The most sophisticated marriage of philosophy and film written. Brimming with ideas and beautifully written. In which the French critic says it all and shows us that further Bergman books must lie in new detail or a broader window on the film world.