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  The Euro-American Cinema

  Peter Lev

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  From as scholar of mass communications, an international study of the influence of Hollywood movies on twentieth-century European art films.   With McDonalds in Moscow and Disneyland in Paris and Tokyo, American popular culture is spreading around the globe. Regional, national, and ethnic cultures are being powerfully affected by competition from American values and American popular forms. This literate and lively study explores the spread of American culture into international cinema as reflected by the collision and partial merger of two important styles of filmmaking: the Hollywood style of stars, genres, and action, and the European art film style of ambiguity, authorial commentary, and borrowings from other arts. Peter Lev departs from the traditional approach of national cinema histories and discusses some of the blends, overlaps, and hegemonies that are typical of the world film industry of recent years. In Part One, he gives a historical and theoretical overview of what he terms the “Euro-American art film,” which is characterized by prominent use of the English language, a European art film director, cast and crew from at least two countries, and a stylistic mixing of European art film and American entertainment. The second part of Lev’s study examines in detail five examples of the Euro-American art film: Contempt (1963), Blow-Up (1966), The Canterbury Tales (1972), Paris, Texas (1983), and The Last Emperor (1987). These case studies reveal that the European art film has had a strong influence on world cinema and that many Euro-American films are truly cultural blends rather than abject takeovers by Hollywood cinema.

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  The Living Room

  Graham Greene

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  London in the 1950s. A mysterious house, home to a family that has seen better days, will not yield its secrets. And a love affair turns to tragedy... Greene, one of the foremost writers of the 20th century, based the play on his own passionate but doomed affairs, and his conflicted view of Catholicism.Includes an interview with one of the world’s  foremost biographers of Graham Greene, Dr. Norman Sherry.An L.A. Theatre Works full-cast performance featuring W. Morgan Sheppard, Julian Sands, Kirsten Potter, Samantha Robson, Jane Carr and Judy Geeson.

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  Later Life

  A. R. Gurney

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  Austin is a distinguished Bostonian with a WASP pedigree, an unbeatable squash game, and a frightening secret. After he meets up with his old flame Ruth, they begin a comic and painful voyage of self-discovery.Directed by Robert RobinsonProducing Director: Susan Albert LoewenbergAn L.A. Theatre Works full-cast recording starring:Valorie Armstrong as The Other WomenDavid Dukes as AustinJudith Ivey as RuthDavid Hyde-Pierce as The Other MenRadio Production: Raymond GuarnaStage Manager and Sound Effects Artist: Amy StrongAssistant Stage Manager: David Spero

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  I Remember I Remember

  Thomas Hood

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  There were scarcely any events in the life of Thomas Hood. One condition there was of too potent determining importance—life-long ill health; and one circumstance of moment—a commercial failure, and consequent expatriation. Beyond this, little presents itself for record in the outward facts of this upright and beneficial career, bright with genius and coruscating with wit, dark with the lengthening and deepening shadow of death. - from the Biographical Introduction  by William Michael Rossetti of The Poetical Works of Thomas Hood

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  High Energy Rock

  Antonio Smith

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  This collection of fitness music is perfectly mixed, set at just the right pace to help you perform a high-energy, body-moving workout.

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  Cate Blanchett: Uncle Vanya

  PBS NewsHour

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  Australian actors Cate Blanchett and Richard Roxburgh have brought the Anton Chekhov classic Uncle Vanya back to the stage, playing now at Washington's Kennedy Center. Jeffrey Brown speaks with the actors about the challenges of staging the play for a modern audience and why so many Australians seem to be acting these days.

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