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Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
[U9fk7.Ebook] the Big Caper Pdf Free
u9fk7 (Free and download) The Big Caper Online [u9fk7.ebook] The Big Caper Pdf Free Lionel White ebooks | Download PDF | *ePub | DOC | audiobook Download Now Free Download Here Download eBook #10787665 in Books 2016-06-27Original language:English 9.00 x .48 x 6.00l, .64 #File Name: 1534913726210 pages | File size: 51.Mb Lionel White : The Big Caper before purchasing it in order to gage whether or not it would be worth my time, and all praised The Big Caper: 0 of 0 people found the following review helpful. If you like your cafe Noir..By Teaching is HelpingExcellent story. Noir at its best.3 of 3 people found the following review helpful. Ten Stars For This CaperBy Dave Wilde"The Big Caper" by Lionel White is first-class hardboiled crime fiction. Make no mistake about that. Like White's novel, "The Killing" (aka "Clean Break"), "The Big Caper" is the story of how a criminal mastermind plots a crime by bringing together a team of individuals. Here, it's a bank robbery in a small Florida town. Flood, the ringleader, pulls together a crew of characters from all walks of life in order to pull of a well-planned down to the most minute detail. As such and because of the sparse, stripped-down prose, it has a similar feel to many of Donald Westlake's Parker novels, although White published "The Big Caper" in 1955, a decade before many any of the Parker novels came out.In this book, White's writing is not flowery. His writing is detailed, but is written in such a stark manner that the details flow through the writing naturally, not as an added enhancement. -
DUISTER VERLEDEN 2 PULPFICTION SCHRIJVERS WESTERNS NOIRS EN ANDERE VERHALEN © Copyright & Verantwoordelijke Uitgever Walter A.P
Walter A.P. Soethoudt DUISTER VERLEDEN 2 PULPFICTION SCHRIJVERS WESTERNS NOIRS EN ANDERE VERHALEN © Copyright & verantwoordelijke uitgever Walter A.P. Soethoudt Walter A.P. Soethoudt DUISTER VERLEDEN 2 Pulpfiction schrijvers westerns noirs en andere verhalen De consequenties van onze goede daden achtervervolgen ons onverbiddelijk en zijn vaak moeilijker te dragen dan die van onze slechte. Marie von Ebner-Eschenbach INHOUD DEEL 1 Pulpfiction schrijvers 7 Cornell Woolrich: poëet van de schaduwen 9 Robert Bloch: De meester van het kwaad 69 Marjorie Bowen: kon met haar pen nauwelijks haar geest volgen 145 Charles Einstein: terwijl de stad slaapt 175 Charles Francis Coe: toen noir nog drama werd genoemd 187 Lionel White: gesmaakt door de avant-garde 201 Lucy Malleson: de vrouw die verstoppertje speelde 217 Chandler in Hollywood 233 Tiffany Thayer: poltergeisten en andere abnormale fenomenen 299 Leo Rosten: de waarheid is vreemder dan fictie 327 Rufus King: dramatische voorloper 341 Cyril McNeile: De schrijver van Bulldog Drummond was 367 geen nette heer DEEL 2 391 Westerns noirs Van Rio Bravo, Rio Lobo, El Dorado tot Les insoumis 393 Luke Short: De cowboy die een zwartkijker was 409 C.S. Boyles, jr.: Een man met vele namen 421 Niven Bush 427 Jesse en Frank James: populaire boeven 435 Sam H. Rolfe: Het begin van een grote vriendschap 439 Stuart N. Lake: hield Wyatt Earp in leven 441 6 duister verleden 2 DEEL 3 Andere filmverhalen 455 Pierre Louÿs: De vrouw en de ledenpop 457 De Shaffer tweeling 473 De wind in de wilgen 479 De laatste dagen van Pompeii 485 Wat gebeurde er met A Month in the Country? 489 The Yellow Rose of Texas 495 Ieder zijn vergif 505 DEEL 1 PULPFICTION SCHRIJVERS Cornell Woolrich: poëet van de schaduwen “I want her back. -
Transfigurations: Violence, Death and Masculinity in American Cinema
Repositorium für die Medienwissenschaft Asbjørn Grønstad Transfigurations: Violence, Death and Masculinity in American Cinema 2008 https://doi.org/10.25969/mediarep/4110 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Grønstad, Asbjørn: Transfigurations: Violence, Death and Masculinity in American Cinema. Amsterdam: Amsterdam University Press 2008 (Film Culture in Transition). DOI: https://doi.org/10.25969/mediarep/4110. Erstmalig hier erschienen / Initial publication here: http://library.oapen.org/handle/20.500.12657/35288 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0/ Lizenz zur Verfügung Attribution - Non Commercial 3.0/ License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ FILM CULTURE IN TRANSITION VIOLENCE,VIOLENCE, DEATH,DEATH, ANDAND MASCULINITYMASCULINITY ININ AMERICANAMERICAN CINEMACINEMA TRANSTRANS-- FIGURATIONSFIGURATIONS ASBJØRN GRØNSTAD Amsterdam University Press Transfigurations Transfigurations Violence, Death and Masculinity in American Cinema Asbjørn Grønstad Front cover illustration: Still from the movie American Psycho (), starring Christian Bale Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn (paperback) isbn (hardcover) nur © Asbjørn Grønstad / Amsterdam University -
Crime Wave for Clara CRIME WAVE
Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International, -
Stanley Kubrick: Producers and Production Companies
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive Stanley Kubrick: Producers and Production Companies Thesis submitted by James Fenwick In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, September 2017 1 Abstract This doctoral thesis examines filmmaker Stanley Kubrick’s role as a producer and the impact of the industrial contexts upon the role and his independent production companies. The thesis represents a significant intervention into the understanding of the much-misunderstood role of the producer by exploring how business, management, working relationships and financial contexts influenced Kubrick’s methods as a producer. The thesis also shows how Kubrick contributed to the transformation of industrial practices and the role of the producer in Hollywood, particularly in areas of legal authority, promotion and publicity, and distribution. The thesis also assesses the influence and impact of Kubrick’s methods of producing and the structure of his production companies in the shaping of his own reputation and brand of cinema. The thesis takes a case study approach across four distinct phases of Kubrick’s career. The first is Kubrick’s early years as an independent filmmaker, in which he made two privately funded feature films (1951-1955). The second will be an exploration of the Harris-Kubrick Pictures Corporation and its affiliation with Kirk Douglas’ Bryna Productions (1956-1962). Thirdly, the research will examine Kubrick’s formation of Hawk Films and Polaris Productions in the 1960s (1962-1968), with a deep focus on the latter and the vital role of vice-president of the company. -
TEXT in NONLINEAR FILM DISCOURSES a Dissertation By
REINVENTING THE REEL: THE "OMNIS" TEXT IN NONLINEAR FILM DISCOURSES A Dissertation by JEFFREY D. FRAME Submitted to the Office of Graduate Studies of Middle Tennessee State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2012 Major Subject: English UMI Number: 3514925 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT uwMRtton ruDNtntng UMI 3514925 Copyright 2012 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest' ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 REINVENTING THE REEL: THE "OMNIS" TEXT IN NONLINEAR FILM DISCOURSES JEFFREY D. FRAME Approved: Dr. David Lavery, Committee Chair Dr. Allen Hibbard, Reader Dr. Robert Holtzclaw, Reader >d(yiu Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies Reinventing the Reel: The "Omnis" Text in Nonlinear Film Discourses © Copyright 2012 Jeffrey D. Frame DEDICATION For the loves of my life—Kim, Jillian, and Hilary, whose self-emptying love and care for me far exceed the tests of time. ii ABSTRACT Narrative films have experimented with nonlinear storytelling structures since the beginning of film history. However, over the past 20 years, nonlinear narratives in film have become increasingly more popular.