Casa editrice: Tales of Terror
This book contains 66 reviews of plausible horror films, 66 reviews of supernatural horror films, and 66 reviews of surreal horror films written and ranked by critic and blogger Steve Hutchison. Each description includes five ratings (stars, story, creativity, acting, quality), a synopsis, and a review. How many have you seen?
It’s a good time, difficult time, narcissistic time. The Newly married Yannis Pappas explores the political division in America, online culture, how the amenities of modernity have saved and ruined us all and finally his controversial idea to bring everyone in the world together in his first hour stand-up comedy special shot at NY Comedy Club in NYC, produced by Andrew Schulz.Mostra libro
This fascinating audio program includes actual radio commercials from the 1960s and 1970s for the following classic movies: Barbarella (1968), directed by Roger Vadim, featuring Jane Fonda, John Phillip Law, Anita Pallenberg; Bunny Lake Is Missing (1965), directed by Otto Preminger, featuring Laurence Olivier, Carol Lynley, Keir Dullea; Chappaqua (1966), directed by Conrad Rooks, featuring Conrad Rooks, William S. Burroughs, Jean-Louis Barrault; Endless Summer (1965), directed by Bruce Brown, featuring Robert August, Michael Hynson, Lord James Blears; Seaside Swingers(1964), directed by James Hill, featuring John Leyton, Michael Sarne, Peter Birrell; The Green Slime (1968), directed by Finji Fukasaku, featuring Robert Horton, Luciana Paluzzi; Hells Angels On Wheels (1967), directed by Richard Rush, featuring Adam Roarke, Jack Nicholson; Help!(1965), directed by Richard Lester, featuring The Beatles; How I Won The War (1967), directed by Richard Lester, featuring Michael Crawford, John Lennon; I Am A Groupie (1970), directed by Derek Ford, featuring Esme Johns, Billy Boyle; Luv (1967), directed by Clive Donner, featuring Jack Lemmon, Peter Falk; Monterey Pop (1968), directed by D.A. Pennebaker, featuring Jimi Hendrix, The Mamas and the Papas; The Pied Piper (1972), directed by Jacques Demy, featuring Donovan, Donald Pleasence; Don't Make Waves (1967), directed by Alexander Mackendrick, featuring Sharon Tate, Claudia Cardinale; The Good, The Bad And The Ugly (1966), directed by Sergio Leone, featuring Clint Eastwood, Eli Wallach, Lee Van Cleef; The Producers (1967), directed by Mel Brooks, featuring Zero Mostel, Gene Wilder; Thunderball (1965), directed by Terence Young, featuring Sean Connery, Claudine Auger; Wild In The Streets (1968), directed by Barry Shear, featuring Christopher Jones, Shelley Winters; Yellow Submarine (1968), directed by George Dunning, featuring The Beatles.Mostra libro
How can we interpret the work of contemporary artists? Focal Points is a new book series of essays, articles and reviews by acclaimed curator and critic Robert Storr. Expertly edited by art historian and curator Francesca Pietropaolo, and richly illustrated, it lends Storr’s illuminating insights into an artist’s practice and way of thinking across recent decades. Brilliantly scholarly, accessible and engaging, Focal Points offers fresh interpretations of the varied territory of modern and contemporary art.????Through a selection of texts spanning from 1986 to 2016, volume one brings together thirty years of Storr’s writings on American artist Bruce Nauman (b.1941) whose practice encompasses sculpture, photography, neon, drawing, printmaking and performance. Much of Nauman’s work makes use of language games and visual puns, influenced by the linguistic theories of twentieth-century thinker Ludwig Wittgenstein and by the work of writer, poet and playwright Samuel Beckett. Describing his work in 1970, Nauman said: ‘Sometimes the activity involves making something, and sometimes the activity is the piece.’Mostra libro
“Believe you can and you're halfway there. No one can make you feel inferior without your consent.” “Success is not how high you have climbed, but how you make a positive difference to the world.” “Opportunities don't happenMostra libro
Recent years have proven rife with revelations about the misdeeds, objectional views, and, in some instances, crimes of popular artists. Given more access than ever thanks to social media and the internet in general, the public has turned an alert and critical eye upon the once-hidden lives of previously cherished entertainers. But what should we members of the public do, think, and feel in response to these artists' actions or statements? It's a predicament that many of us face: whether it's possible to disentangle the deeply unsettled feelings we have toward an artist from how we respond to the art they produced. As consumers of art, and especially as fans, we have a host of tricky moral question to navigate: do the moral lives of artists affect the aesthetic quality of their work? Is it morally permissible for us to engage with or enjoy that work? Can we separate an artist from their art? In Drawing the Line, Erich Hatala Matthes offers insight and clarity to the ethical questions that dog us. He argues that it doesn't matter whether we can separate the art from the artist, because we shouldn't. Matthes argues both that the lives of artists can play an important role in shaping our moral and aesthetic relationship to the artworks that we love and that these same artworks offer us powerful resources for grappling with the immorality of their creators.Mostra libro
The Romantic myth of Bohemia originated in the early nineteenth century as a way of describing the new conditions faced by artists and writers when the previous system of aristocratic patronage collapsed in the wake of the Age of Revolution. Without the patron system, the artist was free to move around, to seek an audience wherever fortune beckoned. This marketing model likening the artist's vagabond career to the "gypsy" life helps to explain part of the bohemian myth, but not all of it. Most bohemians have scant interest in commercial gain and are not so itinerant after all, confining their movements to down-market urban neighborhoods where the rent is cheap and the morals are loose. This Very Short Introduction traces the myth of Bohemia through its various fictional manifestations, from Henry Murger's novel Scenes of Bohemian Life and Giacomo Puccini's opera La Bohème to Aki Kaurismäki's film La vie de Bohème and Jonathan Larson's musical Rent. It goes on to examine the history of different bohemian communities, including those in the Latin Quarter of Paris and the Greenwich Village neighborhood of New York. David Weir also considers the politics of Bohemia and traces the careers of the artists Gustave Courbet and Pablo Picasso and the great chanteuses Yvette Guilbert, Fréhel, and Edith Piaf in the Montmartre neighborhood of Paris.Mostra libro
