The digital broadcasting of performances to cinemas, or 'livecasting', burst onto the world scene in 2006. This book explores the reasons for its rise, examines the aesthetics of filming theatre and opera performances, and explores who the audiences are and what they want.
From a cinematic grand master, “one of the most readable books of movie criticism, and one of the most instructive” (American Film Institute). An icon. A rebel. A legend. The films of François Truffaut defined an exhilarating new form of cinema for moviegoers the world over. But before Truffaut became a great director, he was a critic who stood at the vanguard, pioneering an innovative way to view movies and to write about the cinematic arts. Now, for the first time in eBook, the legendary director shares his own words, as one of the most influential filmmakers of all time examines the art of movie-making through engaging and deeply personal reviews about the movies he loves. Truffaut writes extensively about his heroes, from Hitchcock to Welles, Chaplin to Renoir, Buñuel to Bergman, Clouzot to Cocteau, Capra to Hawks, Guitry to Fellini, sharing analysis and insight as to what made them film legends, and how their work led Truffaut and his fellow directors into classics like The 400 Blows, Jules and Jim, and the French New Wave movement. Articulate and candid, The Films in My Life is for everyone who has sat in a dark movie theater and dreamed. “Truffaut brings the same intelligence and grace to the printed page that he projects onto the screen. The Films in My Life provides a rare knowledgeable look at movies and moviemaking.” —Newsday
This is the first book in more than twenty-five years to examine the complex historical, cultural, and aesthetic relationship between theater and film, and the effect that each has had on the other’s development.Robert Knopf here assembles essays from performers, directors, writers, and critics that illuminate this ongoing inquiry. The book is divided into five parts—historical influence, comparisons and contrasts, writing, directing, and acting—with interludes by major artists whose work and words have shaped the development of theater and film. A comprehensive bibliography and filmography support further work in this area.The book contains contributions from Susan Sontag, Stanley Kauffmann, Sarah Bey-Cheng, Bertolt Brecht, Ingmar Bergman, Harold Pinter, David Mamet, Julia Taymor, Judi Dench, Sam Waterston, Orson Welles, Antonin Artaud, and Milos Forman, among others.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Bringing theory and practice together, African Cinema and Human Rights argues that moving images have a significant role to play in advancing the causes of justice and fairness. The contributors to this volume identify three key ways in which film can achieve these goals: documenting human rights abuses and thereby supporting the claims of victims and goals of truth and reconciliation within larger communities; legitimating, and consequently solidifying, an expanded scope for human rights; and promoting the realization of social and economic rights. Including the voices of African scholars, scholar-filmmakers, African directors Jean-Marie Teno and Gaston Kaboré, and researchers whose work focuses on transnational cinema, this volume explores overall perspectives, and differences of perspective, pertaining to Africa, human rights, and human rights filmmaking alongside specific case studies of individual films and areas of human rights violations. With its interdisciplinary scope, attention to practitioners' self-understandings, broad perspectives, and particular case studies, African Cinema and Human Rights is a foundational text that offers questions, reflections, and evidence that help us to consider film's ideal role within the context of our ever-continuing struggle towards a more just global society.
Jayamanne brings together her discussions of Australian films, Sri Lankan films, European art films, silent film comedy, contemporary American films and her own films.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Postman Lawrence Shang was watching a film called The Axeman of Shanghai when his life abruptly ended. Carpet trader Edward Peng was enjoying The Last Picture Show. Death in both cases was instantaneous, caused by a small calibre handgun used at a range of two feet. With their deaths begins a series of apparently motiveless murders in one cinema after another across the Hong Bay district of Hong Kong – and a nightmarish investigation for Harry Feiffer, Detective Chief Inspector, Royal Hong Kong Police Force, and his staff at the Yellowthread Police Station. The Hatchet Man’s next victim is a sailor off an American ship. Then a German is shot in an auction room. There’s an unaccountable killing on a train near the Chinese border. And the crazy old Mrs Mortimer from the Old People’s Home steps in front of a tram . . . And for Harry Feiffer, time is running out. Full of real police procedure, suspense and fine irony, but with whole extra dimensions of the surreal and the poignant, the Yellowthread Street novels have no real compare. For those open to their charms, this series is a hidden masterpiece of crime fiction. Praise for the Yellowthread Street series: “Marshall has the rare gift of juggling scary suspense and wild humor and making them both work.” Washington Post Book World “Marshall’s style – blending the hilarious, the surreal, and the poignant – remains inimitable and not easily resisted.” San Francisco Chronicle “Marshall has few peers as an author who melds the wildest comedy and tragedy in narratives of nonstop action.” Publishers Weekly “Marshall is building a growing, iconoclastic body of work that mixes weird fantasy [and] wayward characterization . . . to produce a subtle, charged, atmospheric, lush fiction hybrid sure to satisfy those with a taste for mysteries on the far edges.” Philadelphia Inquirer “Despite the wild humor, Marshall’s stories contain excellent police procedure, real suspense, and fine irony . . . incessantly scary.” Chicago Tribune “Among the best police procedural series on the market.” Detroit Free Press “As an inspired poet of the bizarre, [Marshall] orchestrates underlying insanity into an apocalyptic vision of the future.” New York Times Book Review “Marshall’s novels feature seemingly supernatural events that turn out to have logical, if not precisely rational, origins. He has savage fun with police procedure.” TIME “Nobody rivals Marshall’s ability to expose the links between comic hysteria and the most mundane human foibles, from greed to cowardice to simple funk.” Kirkus Reviews “Moves at the speed of a bullet; don’t read it aloud or you’ll run out of breath.” Chicago Sun-Times