William Rothman argues that the driving force of Hitchcock's work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, "Each man kills the thing he loves," with the quintessentially American philosophy, articulated in Emerson's writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the murderous villain and godlike author, Hitchcock, who pulls the villain's strings—and ours. Because Hitchcock believed that the camera has a murderous aspect, the question "What if anything justifies killing?," which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock's career, Rothman discerns a progression in the films' meditations on murder and artistic creation. This progression culminates in Marnie (1964), Hitchcock's most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock's way of thinking cinematically and the philosophical way of thinking Emerson's essays exemplify. He finds that the terms in which Emerson thought about reality, about our "flux of moods," about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general.
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The Anthem Handbook of Screen Theory offers a unique and progressive survey of screen theory and how it can be applied to a range of moving-image texts and sociocultural contexts. Focusing on the “handbook” angle, the book includes only original essays from established authors in the field and new scholars on the cutting edge of helping screen theory evolve for the twenty-first-century vistas of new media, social shifts and geopolitical change. This method guarantees a strong foundation and clarity for the canon of film theory, while also situating it as part of a larger genealogy of art theories and critical thought, and reveals the relevance and utility of film theories and concepts to a wide array of expressive practices and specified arguments. The Anthem Handbook of Screen Theory is at once inclusive, applicable and a chance for writers to innovate and really play with where they think the field is, can and should be heading.
This book provides an in-depth study of Bette Davis, Joan Fontaine, Kim Novak and Meryl Streep, and the treatment of adultery in their films. It avoids the near-impossible challenge of writing about the sheer volume of adultery in film by focusing on specific periods in the work of these four major Hollywood actresses who have each performed roles that share some features but also contain points of difference. The periods discussed cover Davis’s work in 1937 to 1943, Fontaine’s work between 1939 and 1950, Novak in 1954 to 1964, and finally Streep’s work between 1979 and 1985. Closely analysing both established classics and lesser known films, Edward Gallafent explores the work of a broad range of directors including Alfred Hitchcock, Max Ophüls, Sydney Pollack and Billy Wilder. Adultery and the Female Star explores topics such as motherhood, the significance of place, censorship, and adaptation, and is the first book of its kind to take on the topic of adultery in relation to these four actresses. It ultimately argues that our understanding of the adultery narrative is tightly bound up with our understanding of the Hollywood stars that depict it.
From the autumn of 2007 to the next fall, much will happen politically and economically in the life of the United States and the world - bank failures, home foreclosures, the victorious campaign of Barack Obama, the Iraq war ending...Much will also happen in the personal and professional life of Ben Hawthorne, who is about to devote a year to making a fi lm that will profoundly aff ect the rest of his days. At sixty-seven how much time remains for him to work at his calling - directing features - isn’t a primary concern, for he’s been blessed with quality projects during a long career, mentored early on by the aging John Huston: major prestige, awards, modest wealth and his exceptional wife, Martha, came his way during the past fi fteen years. His excellent health and physical attractiveness are the envy of many of his peers. Matthew Fleming is one of a few superstars a studio could consider backing in these parlous times, but when it’s a modestbudgeted suspense fi lm Matt proposes in his Producer role - a remake of an early Forties hit but mainly forgotten Alfred Hitchcock fi lm, Shadow of a Doubt, which the studio owns, it’s a done deal. Th e actor off ers Ben a partnership on this project, to be rewritten ASAP and rushed into production so Matt can return to his New York Rep Th eatre Company. Jessica Marlowe, Ben’s discovery for his controversial erotic drama, Th e Cry of Sirens, nearly a decade prior, now called ‘the young Meryl Streep’, will share credit with Désiree Peters in the key ingenue role. Désiree, a precociously talented actress of twenty-one has only performed on the stage, yet adapts readily. Also a generation or more younger than anyone on the picture, her mores bewilder her elders. During the fi lming in Petaluma, north of San Francisco, and in an L. A. studio, Ben must keep alert to everything on the set. Yet he misses major moments, psychological and sexual, in the off -camera reality of relationships, including his own. When, at the end of shooting, one of his leading ladies commits suicide he realizes he may have been the cause of the tragedy. His guilty conscience forces him to write down, for his young wife to evaluate after he’s dead, his sins of omission and commission during production. Knowing the facts would she still respect, much less love him?
First published in 1963, A God and his Gifts was the last of Ivy Compton-Burnett's novels to be published in her lifetime and is considered by many to be one of her best. Set in the claustrophobic world of Edwardian upper-class family life, it is the story of the self-willed and arrogant Hereward Egerton. In his marriage to Ada Merton he maintains a veneer of respectability but through his intimate relationships with his sister, Emmeline, and his son's future wife, Hetty, he steps beyond the bounds of conventional morality with both comic and tragic results?
Years of trying unsuccessfully to conceive a child have broken more than Angie DeSaria’s heart. Following a painful divorce, she moves back to her small Pacific Northwest hometown and takes over management of her family’s restaurant. In West End, where life rises and falls like the tides, Angie’s fortunes will drastically change yet again when she meets and befriends a troubled young woman. Angie hires Lauren Ribido because she sees something special in the seventeen-year-old. They quickly form a deep bond, and when Lauren is abandoned by her mother, Angie offers the girl a place to stay. But nothing could have prepared Angie for the far-reaching repercussions of this act of kindness. Together, these two women—one who longs for a child and the other who longs for a mother’s love—will be tested in ways that neither could have imagined.
The Muse, Or How I Fall in Love represents a young poets effort to describe the creative impulse as the source of his love for a woman. Profoundly spiritual and deeply torn this poetic prose explores everything from the nature of beauty to feminine spirituality.
There are a lot of books about leadership out there. I wanted to stir the pot and make some suggestions that I have not heard yet. Leadership is not about sticking qualities all over yourself, like dozens of yellow sticky notes: Today I will learn time management. Tomorrow I will develop integrity. Mere information is not enough to change us. Data may lead to transformation, but it is not enough to transform us on its own. Leadership is not about trends and buzzwords. Leadership is about personhood. Personhood is where this transformation truly takes place. Leadership may perseverate into any one of these things (stickies, trends, information, data, and buzzwords), but it is ultimately and ideally about personhood. This may be a philosophical category that the church has left off discussing, but it meant a lot to the ancients. We need to stir some of their depth back into our existence. One's genuine ability to lead comes from one's genuine transformation into the kind of person that is needed for the particular form of leading at hand. Different traits will be called forth from the leader depending on the situation, place, time, and people. It is the person who is the leader and not the trait or characteristic that is the leader. Being is critical; not just doing. I think a lot of our current reading on leadership is simply about skill-sets. They are important discussions, but that is not all there is. Do not get me wrong, I am not saying you must be perfect to lead. If that were the case, I would not be able to write this book. What I am saying is that your identity is where your true leading comes from, and if you are in a transformational relationship with Jesus the chances are good that your person and identity will deepen over time.