DOCSLIB.ORG

Kornhaber, Do E 349S 34980

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kornhaber, Do E 349S 34980 E349S l Wes Anderson Instructor: Kornhaber, Donna Cross-lists: LAH 350 (29760) Unique #: 34980 Flags: Writing Semester: Fall 2020 Computer Instruction: No Time and Location: 9:30am-11:00am (Online via Zoom) Prerequisites: Nine semester hours of coursework in English or rhetoric and writing. Description: Wes Anderson – a UT Austin alum – is one of the most comPlex film directors working today. Known for his meticulous visual constructions and eclectic, unmistakable sense of design, he is one of the foremost cinematic stylists of his generation; at the same time, his work shows a Persistent concern with weighty issues of loss, abandonment, and alienation. Many have criticized Anderson for what they Perceive as his incessantly “twee” or “hipster” sensibilities, while others detect an unsettling emotional detachment in his work. This course will present an in-depth look at Anderson’s full body of work, considered in light of the director’s unique visual and narrative Proclivities and in terms of the various criticisms of his work that have followed his career. We will also Pay careful attention to the numerous works of classical and international cinema that influenced Anderson and to which he frequently Pays homage within his films. Topics to be considered include formalism and aestheticism; animation; music; concepts of “indiewood,” “new sincerity,” and “smart cinema”; auteurism and its criticisms; and questions of rePresentation and aPProPriation in cinema. No Prior knowledge of film is required, and students can exPect to leave with a solid grounding in the PrinciPles of film studies. Flags: Writing. This course carries the Writing Flag. Writing Flag courses are designed to give students exPerience with writing in an academic disciPline. In this class, you can exPect to write regularly during the semester, comPlete substantial writing Projects, and receive feedback from your instructor to helP you imProve your writing. You will also have the oPPortunity to revise one or more assignments, and you may be asked to read and discuss your peers’ work. You should therefore expect a substantial portion of your grade to come from your written work. Writing Flag classes meet the Core Communications objectives of Critical Thinking, Communication, Teamwork, and Personal ResPonsibility, established by the Texas Higher Education Coordinating Board. Films: Director Title Date Wes Anderson Bottle Rocket 1996 Wes Anderson Rushmore 1998 Wes Anderson The Royal Tenenbaums 2001 Wes Anderson The Life Aquatic with Steve Zissou 2004 Wes Anderson The Darjeeling Limited 2007 Wes Anderson Fantastic Mr. Fox 2009 Wes Anderson Moonrise Kingdom 2012 Wes Anderson The Grand Budapest Hotel 2014 Wes Anderson Isle of Dogs 2018 Requirements & Grading: ParticiPation (15%); two 5-page essays (25% + 25%); one 8-page essay (35%) 1 Updates Please note that suPPlemental readings or films may be added throughout the semester to Provide additional context and background for the films listed above. Additionally, dates for guest sPeakers should be regarded as tentative and may be changed. Updated syllabi will be Posted to Canvas as needed throughout the term. Schedule: Week Day Date Assignment/Event 1 Th 8/27 Introduction 2 T 9/1 The Royal Tenenbaums Th 9/3 The Royal Tenenbaums 3 T 9/8 The Royal Tenenbaums Th 9/10 The Darjeeling Limited 4 T 9/15 The Darjeeling Limited Th 9/17 The Darjeeling Limited 5 T 9/22 Fantastic Mr. Fox Th 9/24 Fantastic Mr. Fox 6 T 9/29 Fantastic Mr. Fox Th 10/1 Rushmore First short paper due 7 T 10/6 Rushmore Th 10/8 Rushmore 8 T 10/13 The Life Aquatic with Steve Zissou Th 10/15 The Life Aquatic with Steve Zissou 9 T 10/20 The Life Aquatic with Steve Zissou Th 10/22 Bottle Rocket 10 T 10/27 Bottle Rocket Th 10/29 Bottle Rocket 11 T 11/3 Moonrise Kingdom Second short paper due Th 11/5 Moonrise Kingdom 12 T 11/10 Moonrise Kingdom Th 11/12 Grand Budapest Hotel 13 T 11/17 Grand Budapest Hotel Th 11/19 Grand Budapest Hotel 14 T 11/24 Isle of Dogs Th 11/26 Thanksgiving Holiday – no class 15 T 12/1 Isle of Dogs Th 12/3 Isle of Dogs Last class day 16 F 12/11 Final Papers Due Policies: 2 Documented Disability Statement: The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact Services for Students with Disabilities at 471-6259 (voice) or 232-2937 (video phone), or visit http://www.utexas.edu/diversity/ddce/ssd. Honor Code: The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness, and resPect toward Peers and community. Academic Integrity: Any work submitted by a student in this course for academic credit will be the student's own work. For additional information on Academic Integrity, see http://deanofstudents.utexas.edu/sjs/acadint.php. Religious Holy Days: By UT Austin Policy, you must notify me of a Pending absence at least fourteen days Prior to the date of observance of a religious holy day. If you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, I will give you an oPPortunity to comPlete the missed work within a reasonable time after the absence. Class Attendance Policy: You are expected to attend all scheduled classes via Zoom and arrive on time. In the event you must miss a class, you can do so on 3 instances without it affecting your final grade. These 3 missed classes do not need to be excused, but please do let me know of your absence as far in advance as possible. Beyond these 3 classes, all absences must be excused. Reasons for excused absences include illness (with doctor’s note), team sPorts or aPProved activities, and family emergencies. Any unexcused absences beyond the allowed 3 missed classes will lower your final class grade by 1/3 of a letter. (This does not include Religious Holy Days.) Late Assignments Policy: Unless arrangements for an extension are made in advance with the instructor, late PaPers or assignments will be marked down 1/3 of a letter for every calendar day (not every class day) they are late. Web Site: A Canvas site will be available for this course. Instructor: 3 .
Load more

Recommended publications
  • A Gentleman's Gentleman & Other Characters of In-Betweenness
    A Gentleman’s Gentleman & Other Characters of In-betweenness Problematized Binary Oppositions in Wes Anderson’s The Grand Budapest Hotel, The Royal Tenenbaums & Fantastic Mr. Fox Tess Kamphorst (10994297) | MA Thesis Comparative Cultural Analysis | 15 June 2016 UvA | Supervisor: prof. dr. M.D. Rosello | Second reader: dr. N. Martin Kamphorst 2 Table of Contents Acknowledgements 3 Introduction 4 1. The Grand Budapest Hotel 10 1.1 Introducing the film & M. Gustave 10 1.2 In between classes 12 1.3 In between the Subaltern and the powerful 18 2. The Royal Tenenbaums 22 2.1 Introducing the film & Margot Tenenbaum 22 2.2 In between visibility and invisibility 23 2.3 In between family and outsider 29 3. Fantastic Mr. Fox 35 3.1 Introducing the film & Mr. Fox 35 3.2 In between human and animal 37 3.3 In between locations: underground and aboveground 43 Conclusion 49 Works Cited 54 Kamphorst 3 Acknowledgements Hereby, I would like to use the opportunity to express my gratitude to my supervisor Mireille Rosello, who provided me with very useful comments and surprising new insights that really encouraged me to take my research to a higher level after every feedback session. Also, I am highly grateful to Marilyn for proof-reading this thesis. Evertjan, thank you so much for all your moral support and the indispensable reminder that you should never change your object. Maaike, thank you for all our days of studying together and the much needed accompanying coffee breaks – even when your own thesis was already finished. Lieke, thank you for a wonderful (study) time in Boston and the willingness to ride the New York subway for an hour to see the Tenenbaum house in real life.
    [Show full text]
  • Greenberg (2011)
    Greenberg (2011) “You like me so much more than you think you do.” Major Credits: Director: Noah Baumbach Screenplay: Noah Baumbach, from a story by Baumbach and Jennifer Jason Leigh Cinematography: Harris Savides Music: James Murphy Principal Cast: Ben Stiller (Roger Greenberg), Greta Gerwig (Florence), Rhys Ifans (Ivan), Jennifer Jason Leigh (Beth) Production Background: Baumbach, the son of two prominent New York writers whose divorce he chronicled in his earlier feature The Squid and the Whale (2005), co-wrote the screenplay with his then-wife, Jennifer Jason Leigh, who plays the role of Greenberg’s former girlfriend. His friend and sometime collaborator (they wrote The Life Aquatic with Steve Zissou together), Wes Anderson, co-produced Greenberg with Leigh. Most of Baumbach’s films to date deal with characters who are disappointed in their lives, which do not conform to their ideal conceptions of themselves. At whatever age—a father in his 40s, his pretentious teenage son (The Squid and the Whale), a college graduate in her late twenties (Frances Ha, 2012)—they struggle to act like grownups. The casting of Greta Gerwig developed into an enduring romantic and creative partnership: Gerwig co-wrote and starred in his next two films, Frances Ha and Mistress America (2015). You can read about Baumbach and Gerwig in Ian Parker’s fine article published in New Yorker, April 29, 2013. Cinematic Qualities: 1. Screenplay: Like the work of one of his favorite filmmakers, Woody Allen, Baumbach’s dramedy combines literate observation (“All the men dress up as children and the children dress as superheroes”) and bitter commentary (“Life is wasted on… people”) with poignant confession (“It’s huge to finally embrace the life you never planned on”).
    [Show full text]
  • Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
    Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX.
    [Show full text]
  • Postnormal Imaginings in Wes Anderson's the Darjeeling Limited
    Postnormal Imaginings in Wes Anderson’s The Darjeeling Limited Perpetuating Orientalist and neocolonial representations, biases, and stereotypes as pretentious comedy is the new creed of the American New Wave Movement JOHN A. SWEENEY THE HISTORY OF THE INDIAN RAILWAY SYSTEM PRESENTS A FABLE SOME 150 YEARS old—one that helped to defne the very topography of the sub-continent and its people. Emphasizing the lasting impact of trains on India, Srinivasan observes, “Railways made India a working and recognizable structure and political and economic entity, at a time when many other forces militated against unity. Through their own internal logic, their transformation of speed and the new dynamic of the economic changes they made possible, the railways defnitively altered the Indian way of life” (Srinivasan, 2006, pxiii). While assisting in the alteration of identities, Indian railways simultaneously united and partitioned the sub-continent on a seemingly unimaginable scale. “If you dug up all the rail track in India and laid it along the equator,” writes Reeves, “you could ride around the world one-and-a- half times.” This enormous enterprise, which occurred when the idea of “India” as an integrated political unit “remained very much an imaginary notion,” originated as the fanciful legacy of British rule, which sought a material means to coalesce its occupation (Reeves, 2006, pxiii). The railway was both the cause and efect of Britain’s colonial sovereignty; the very “idea of establishing and expanding a railway system in India ofered the most vibrant excitement in colonial mind” (Iqbal, 2006, p173). The vast colonial East-West Afairs 75 project was “the work of the capitalist interest in Britain” but it “fourished and expanded frst on ground which was essentially ‘mental’” (Iqbal, 2006, p183).
    [Show full text]
  • The Royal Tenenbaums Free
    FREE THE ROYAL TENENBAUMS PDF Wes Anderson,Owen Wilson | 160 pages | 30 Jan 2002 | FABER & FABER | 9780571215454 | English | London, United Kingdom The Royal Tenenbaums () - Plot Summary - IMDb Where the soundtrack to Rushmore captured that film's mix of brash and bittersweet through British Invasion The Royal Tenenbaums and Mark Mothersbaugh's playfully poignant score, the music for The Royal Tenenbaums -- Wes Anderson's tale of a prodigal patriarch and the brood of child geniuses he left behind -- evokes the film's shabbily genteel New York through vintage folk-pop, classic punk, and a Mothersbaugh score that gives the delicacy of his earlier scores a newfound maturity. In between, the music ranges from Elliott Smith's quietly devastating "Needle in the Hay" to the manic energy of the Ramones' "Judy is a Punk" and the Clash's "Police and Thieves" to the hazy glow of Bob Dylan's "Wigwam," each track The Royal Tenenbaums to the album's strangely timeless but emotionally direct atmosphere. Nearly as clever and nuanced as the film itself, The Royal Tenenbaums is also a moving, well-rounded album in its own right. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Release Date December 11, The Royal Tenenbaums Listing. Mark Mothersbaugh.
    [Show full text]
  • Pierre Laclede Honors College
    PIERRE LACLEDE HONORS COLLEGE University of Missouri-St. Louis Spring 2013 Courses AHG=fulfills American History & Government requirement; CD=fulfills Cultural Diversity requirement; GA=fulfills Global Awareness requirement; H=fulfills Humanities requirement; MS=fulfills Math/Science requirement; NS=fulfills Natural Science requirement; SS=fulfills Social Science requirement; WC=fulfills Writing Certificate HONORS 1100 -001 #11391 HONORS 1201 -004 #11396 (H) Freshman Composition Freshman Symposium: Cultural Traditions II MW 11:00-12:15 Baldus, K. Villa 155 TR 12:30-1:45 Friedline, G. Villa 155 (See Section 006 for course description) Freshman Composition: This course, the first in the Honors College writing sequence, is required and should be HONORS 1201 -005 #11397 (H) taken during freshman year. Through formal and informal Freshman Symposium: Cultural Traditions II writing assignments, discussion, instruction, and research, TR 2:00-3:15 Dwiggins, K. Seton students will improve their critical reading, thinking, and (See Section 006 for course description) writing skills, and their research techniques. The course is designed to help students meet the rigorous challenges of HONORS 1201 -006 #13264 (H) college writing across the disciplines by emphasizing Freshman Symposium: Cultural Traditions II intellectual inquiry, logic, style, correct and concise expression, TR 9:30-10:45 Dwiggins, K. Seton and formal research and documentation. Students will write 4 to 5 formal papers, and informal reading and writing assignments This course will continue our introduction to college and will be required. our reflections on different approaches to education that we started in Cultural Traditions I. By surveying Western and Non- HONORS 1110 -001 #14249 (H) Western cultures from 1750 to the present, it will examine the Western Traditions: Humanities intellectual traditions of a wide variety of cultures through their TR 2:00-3:15 Balogh, M.
    [Show full text]
  • Cinematic Representations of the City
    UC Center French Language and Culture Program Courses – Summer 2014 PCC 105. Paris Scenes: Cinematic Representations of the City Prof. Carole Viers-Andronico Lecture contact: [email protected] Wednesday 15h00-17h00 Visits (or Lecture) Office Hours Thursday 15h00-17h00 By appointment COURSE DESCRIPTION The city of Paris has long served as muse to foreign and domestic filmmakers. Cinematic representations have framed and reframed not only how we see and understand many of the ville lumière’s most famous monuments and districts but also how we comprehend aspects of French history and culture. This course, therefore, will take an interdisciplinary approach to cinematic representation by relying on methodologies from comparative literature, philosophies of aesthetics, film studies, history, and urban studies. Throughout the course, students will study the ways in which cinematic representations attribute meaning to monuments and districts. They will analyze how these representations constitute scenes of re-presentation; that is, how they provide interpretations of cultural, historical, and socio-political events. Through a combination of viewings, related readings, and site visits to scene locations, students will engage in discussions about how the meanings of such sites become manifold depending on how they are framed and thus seen/scened. The course will be organized around case studies of both well-known and lesser-known sites, such as the Eiffel Tower, the Montmartre district, and the Latin Quarter district. 4.0 UC quarter units. Suggested subject areas for this course: Film / Comparative Literature / Urban Studies Goals The overriding goal of this course is to provide students with the tools to reflect critically on cinematic representations of Paris as a city in history.
    [Show full text]
  • Portraits of America DEMOCRACY on FILM
    The Film Foundation’s Story of Movies Presents With support from AFSCME A PROFESSIONAL DEVELOPMENT WORKSHOP ON FILM AND VISUAL LITERACY FOR CLASSROOM EDUCATORS ACROSS ALL DISCIPLINES, GRADES 5 – 12 Portraits of America DEMOCRACY ON FILM 2018 WORKSHOPS August 6 & 7 Breen Center for the Performing Arts, 2008 W 30th Street, Cleveland, OH 44113 August 14 & 15 Lightbox Film Center inside International House Philadelphia 3701 Chestnut Street Philadelphia, PA 19104 October 3 & 4 Detroit Institute of Arts, 5200 Woodward Ave., Detroit, MI 48202 WHO & WHAT This FREE two-day seminar introduces educators to an interdisciplinary curriculum that challenges students to think contextually about the role of film as an expression of American democracy. SCREENING AND DISCUSSION ACTIVITIES FOCUS ON STRATEGIES TO: N Increase civic engagement by developing students’ critical viewing and thinking skills. N Give students the tools to understand the persuasive and universal language of moving images, a significant component ofvisual literacy. N Explore the social issues and diverse points of view represented in films produced in different historical periods. MORNING AND AFTERNOON WORKSHOPS FOCUS ON LEARNING HOW TO READ A FILM, PRINCIPLES OF CINEMA LITERACY, AND INTERPRETING FILM IN HISTORICAL/CULTURAL CONTEXTS. N Handout materials include screening activities and primary source documents to support and enhance students’ critical thinking skills. N Evening screenings showcase award-winning films, deemed historically and culturally significant by the Library of Congress National Film Registry. N Lunch is provided for registered participants. HOW & WHEN TO REGISTER CLASSROOM CAPACITY IS LIMITED, SO EARLY REGISTRATION IS ENCOURAGED. Continuing Education Credits may be supported by local school districts for this program.
    [Show full text]
  • The Royal Tenenbaums Clip 1
    The Royal Tenenbaums 2001 US Gene Hackman, Anjelica Huston c. 6 min. Introduction 49 - The Royal Tenenbaums Clip 1 - YouTube IMDb • grammar points: present perfect, must, as...as, 3°conditional, let's, shall, superlative, will, reflexive, past perfect, most of, could, imperative, since • phrasal verbs: get, standing up, go into business, run away, camp out, mad at survived on, come back, take on, put out, sleep over, dress up • idioms: have children, look, leave, fault, Well, just, raise children, two-part, early teens, hold it, turn pro, in a row, regular fixture, a bunch of ........................................................................................................................................... NARRATOR (Voice of Alec Baldwin): Royal Tenenbaum bought the house on Archer Avenue in the winter of his 35th year. Over the next decade he and his wife had three children, and then they separated. MARGOT: Are you getting divorced? ROYAL: At the moment, no...but... it doesn't look good. RICHIE: Do you still love us? ROYAL: Of course I do. CHAS: Do you still love Mom? ROYAL: Yes, very much...but your mother has asked me to leave, and I must respect her position on the matter. MARGOT: Is it our fault? ROYAL: No...No...Obviously, we made certain sacrifices as a result of having children, but, uh...no, Lord, no. RICHIE: Then why did she ask you to leave? ROYAL: I don't really know anymore. Maybe, I wasn't as true to her as I could have been. CHAS: Well, she said... ROYAL: Let's just drop it shall we, uh, Chassie? NARRATOR: They were never legally divorced. ROYAL: Thank you, Pagoda.
    [Show full text]
  • True and False New Realities in the Films of Wes Anderson, Spike Jonze and Charlie Kaufman
    ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 121–131 True and False New Realities in the Films of Wes Anderson, Spike Jonze and Charlie Kaufman André Crous University of Stellenbosch (South Africa) E-mail: [email protected] Abstract. The filmmakers of the French Nouvelle Vague, in the spirit of post- war modernism, wanted to get at the truth of everyday life, and braved oncoming traffic to capture people living real lives. Since the turn of the millennium, Wes Anderson, Spike Jonze and Charlie Kaufman have taken the opposite track, showing a remarkable tendency to undermine their own representations of reality – often humorously collapsing the boundaries between the actual and fictional worlds. The particular filmmakers never content themselves with simple exercises in mimesis, but instead openly acknowledge the elusive objective of faithfully representing reality: examples include the subversively deceptively Godardian cut-away of a film set in Anderson’s Life Aquatic with Steve Zissou (2004), the symbiotic relationship between the diegetic writing of two screenplays and the events unfolding around the characters in Jonze’s Adaptation (2002), and the multiple mise- en-abyme structure of Kaufman’s Synecdoche, New York (2008). In the course of their films, Anderson, Jonze and Kaufman playfully yet confidently turn our perception of diegetic reality on its head, placing emphasis on the idea of “performance” – as it relates to the characters as well as the films themselves. Introduction The late 1950s and the early 1960s saw a handful of French directors setting out to revitalize a film industry whose output, according to them, had become dull and conventional.
    [Show full text]
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
    [Show full text]
  • Reading List for India
    Suggested Reading List for India Books City of Djinns (William Dalrymple) Penned by the eminent Scottish writer and historian, William Dalrymple, ‘City of Djinns’ is an ode to Delhi. A fascinating travelogue of the age old city, it touches upon its rich and glorious history, drawing lingering connections to its present like an enthralling spider web. The book takes its readers on a journey of India’s capital through its architecture, and Dalrymple’s own experiences with its inhabitants and their quirks. Liberally sprinkled with charming anecdotes, ‘City of Djinns’ makes for an enlightening and compelling read. No Full Stops in India (Mark Tully) Veteran journalist and writer, Sir Mark Tully provides an intriguing insight into Indian culture and politics in his book ‘No Full Stops in India’. It shares the author’s unique point of view of the Indian society with brilliantly written essays ranging from the Kumbh Mela to Communism in Calcutta. The book draws upon his own time and knowledge of the heartland, as a BBC correspondent. Effortlessly unravelling various aspects of a post-colonial India, it gives the readers an objective yet kind commentary on the vast subcontinent. Shantaram (Gregory David Roberts) ‘Shantaram’ is a quasi-autobiographical novel written by Gregory David Roberts, an Australian author and erstwhile convict. Part-fact and part-philosophical in nature, the book follows the protagonist’s journey of self-realisation after his escape from Pentridge Prison and subsequent fleeing to India under a false identity. Linbaba, as he is called by his newfound friend Prabaker, meets a host of interesting and colourful characters in the city of Mumbai where he lives.
    [Show full text]