This classic bestselling novel about a man who encounters a woman whose power to destroy is as strong as her power to love evokes Hemingway in its naturalistic portrayal of elemental forces in both nature and humanity. Ellen’s beauty was radiant, and Harland had been so struck with her personality and the strength of her character that he knew he could never leave her. When he found that she returned his adoration, he could marry her with joy, bothered just momentarily by a strange premonition. It was only later, when the premonition became a horrifying reality, that he realized the glowing loveliness of the woman he had married was the true face of evil.
Marcia Landy has gathered thirty-seven important essays on film and melodrama that have appeared in books and journals over the last two decades. In her introduction to the book, Landy explores the recent interest in the genre in relation to theoretical work in psychoanalysis and semiotics, setting the stage for the essays that follow. The book's seven sections examine the history of melodrama, its emphasis on emotional excess, its manicheanism, and its dependence on non-verbal strategies to communicate. Essays focus on the family melodramas of the 1950s, the role of Hollywood directors and stars in the development of the genre, and melodrama in the silent films and on television. The book concludes with an exploration of the use of melodrama in European and Latin American cinema, both silent and sound. Imitations of Life thus provides a variety of perspectives-chronological, theoretical, and international-on the genre while investigating its cultural, social, and political significance.
She let go of the screen door and it slammed shut, echoing in the quiet. For a moment, I could only see her eyes, almost separate from the rest of her. They held something, something long lost to me. She dissolved into the darkness and I stood alone on the concrete, flexing my hands. Abo, nigger, darky. Abo, nigger, darky. In postwar Sydney, Grace Smith takes Mary, a young Aboriginal girl, into her home. She believes she will be able to save the child by giving her all the benefits of white society. But Mary's arrival has unexpected consequences as Grace's past comes back to haunt, and condemn her. The Heaven I Swallowed is a tale of the Stolen Generations, told from the perspective of the white perpetrator.
The 101 Best Film Noir Posters from the 1940s-1950s
Author: Mark Fertig
Publisher: Fantagraphics Books
Collecting 101 noir movie posters of, arguably, the greatest noir films ever made (including classics The Maltese Falcon, Laura, and Double Indemnity). Reproduced in a stunningly designed, over-sized format that shows off the spectacular visual elan of Hollywood movie posters at their best, the book is not only a spectacular showcase of film noir art, but also establishes the crucial films and identifies their key characteristics, with critical commentary on each film by author and scholar Mark Fertig. This is an ideal handbook for noir rookies, a valuable resource for old-hats, and a visual feast for fans of film noir and American entertainment art.
Called the most beautiful woman in movie history, Gene Tierney starred in such 1940s classics as Laura, Leave Her to Heaven and The Ghost and Mrs. Muir. Her on-screen presence and ability to transform into a variety of characters made her a film legend. Her personal life was a whirlwind of romance (she married a count, was engaged to a prince, and was courted by a future president) and tragedy (her first daughter was born with severe retardation and Tierney herself struggled with mental illness). After years of treatment, including electroshock therapy that erased portions of her life from her memory, she triumphantly returned in one of the biggest comebacks in Hollywood history. This first complete biography since the actress’s death includes a foreword by her daughter, Christina Cassini, an extensive filmography, and many rare photographs.
LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.
a Personal Introduction to 1,000 Films including masterpieces, oddities and guilty pleasures (with just a few disasters)
Author: David Thomson
Publisher: Penguin UK
Category: Performing Arts
This is possibly the most entertaining, surprising and enjoyable film book ever written. Thomson set himself the near-foolhardy task of writing one page each on 1000 of the films that he has particularly liked – or in some cases, abhorred. Some half-million words of funny, vigorous, wayward prose later, we are all the happy beneficiaries of his deranged labour. Always unexpected, never repetitive, ‘Have You Seen...?’ can be read consecutively – from Abbott and Costello Meet Frankenstein to Zabriskie Point – or dipped into over many years, and it is a masterclass in how to write about films and how to love them. Sometimes Thomson will be interested in the director, sometimes in the culture that made such a film possible at such a time, sometimes in the stars (always in the stars, to be honest), and sometimes even in the outrageous cynicism and corruption of most financial backers. ‘Have You Seen...?’ is crammed with great love stories, westerns, musicals, war stories, comedies, and dramas. It is as in awe of film noir as of silent farce, and adores Hollywood but also favours British, Japanese and European cinema: camp disasters, kitsch and pretention hold no fears. If Thomson has a bottom line it is his incredulity that so much that is so enjoyable and moving and worthwhile was ever made at all – and that thanks to DVD we can now watch it forever. ‘Have You Seen...?’ will redirect how you spend your evenings for the rest of your life – for the better.
No longer is pregnancy a repulsive or shameful condition in Hollywood films, but an attractive attribute, often enhancing the romantic or comedic storyline of a female character. Kelly Oliver investigates this curious shift and its reflection of changing attitudes toward women's roles in reproduction and the family. Not all representations signify progress. Oliver finds that in many pregnancy films, our anxieties over modern reproductive practices and technologies are made manifest, and in some cases perpetuate conventions curtailing women's freedom. Reading such films as Where the Heart Is (2000), Riding in Cars with Boys (2001), Palindromes (2004), Saved! (2004), Quinceañera (2006), Children of Men (2006), Knocked Up (2007), Juno (2007), Baby Mama (2008), Away We Go (2009), Precious (2009), The Back-up Plan (2010), Due Date (2010), and Twilight: Breaking Dawn (2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "choice," a representation of the hosting of "others," a prism for fears of miscegenation, and a screen for modern technological anxieties.