Book Factsheet Patricia Highsmith Ripley Under Ground
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Equipo Crónica
Equipo Crónica Tomàs Llorens 1 This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao © Equipo Crónica (Manuel Valdés), VEGAP, Bilbao, 2015 Photography credits © Archivo Fotográfico Museo de Arte Contemporáneo de Alicante, MACA: fig. 9 © Archivo Fotográfico Museo Nacional Centro de Arte Reina Sofía: figs. 11, 12 © Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao: figs. 15, 20 © Colección Arango: fig. 18 © Colección Guillermo Caballero de Luján: figs. 4, 7, 10, 16 © Fundación “la Caixa”. Gasull fotografía: fig. 8 © Patrimonio histórico-artístico del Senado: fig. 19 © Stiftung Museum Kunstpalast - ARTOTHEK: fig. 14 Original text published in the catalogue Equipo Crónica held at the Bilbao Fine Arts Museum (10 February to 18 May 2015). Sponsored by: 2 1 Estampa Popular de Valencia and the beginnings of Equipo Crónica Founded in 1964, Equipo Crónica and Estampa Popular de Valencia presented themselves to the public as two branches of a single project. Essentially, however, they were two different, independent ones and either could have appeared and evolved without the other. -
Andrzej Filarczyk P O N T I a C "
FIL ANDRZEJ FILARCZYK ACTRESS PROFILE together for four years in a breasts. " I ’ ve always been pru Jacqueline Bisset "hippie" shack made from packing dish about my body,” she blushes. crates on Malibu. They moved when "I have been willing to do alot FILMS it was condemned by the California of films where a woman is decor Authorities. ative, standing around, and CUL-DE-SAC After recovering from a nervous irrelevant. The size of the part CASINO ROYALE breakdown and after leaving never concerns me, I ’ l l do a part TWO FOR THE Sarrazin, she left for France for six really good lines.” ROAD where she acted in Francois Bisset is now on location in THE SWEET RIDE Truffaut’ s "Day For Night"; her the Mediterranean island of Cor BULLITT most distinguished role to date. fu where she is filming ”The AIRPORT Truffaut is the only director Greek Tycoon,” in which she plays JUDGE ROY who has blended her beauty with a widow of an assassinated Ameri BEAN her acting talents, for whom she can President who ends up marry DAY FOR NIGHT played a film groupie who starts ing a Greek shipping billionaire, ST. IVES out as a script girl and ends up played by Anthony Quinn. THE DEEP (Soon running o ff with the stunt man. Halston,who designs Bisset’ s playing in "Day For Night" is a comic look costumes for "The Greek Tycoon", area) at what goes into a making of a says that she has "a very womanly THE GREEK film, all the trials and tribula body, beautiful shoulders, beau TYCOON tions. -
Winter 2021 Digital Boomer
HEARTH & HOME ASK AMY HEALTH & WELLNESS Decorating & Selling DNA Disasters Healthy, Legal Mushrooms WINTER 2020 Virginia’sGUITAR MAKERS Master FROM OUR READERS Car Collector Childhood & Candy Family Pool Table TRAVEL Kentucky Bourbon Country Joseph Rosendo’s Travel Musings Travel Insurance Museum of the U.S. Army Fredericksburg, Texas Nostalgia • Food & Booze Plus Books • Giving Back Fun & Games CONTENTS Vol. 15 , No. 4 WINTER ’20 HEARTH & HOME ASK AMY Decorating & Selling HEALTH & WELLNESS DNA Disasters Healthy, Legal Mushrooms THE CREATIVE LIFE WINTER 2020 2 Virginia’s Master Guitar Makers ON THE 4 Behind the Scenes with Art Conservators Virginia’s Master COVER GUITAR MAKERS J. PlunkyFROM Branch OUR READERS This custom guitar was FROM OUR Photograph by READERS 5 Confessions of a Car Collector Car Collector Patrick Mamou made by the craftsmen Childhood & Candy 6 Memories of Childhood and Candy Family Pool Table TRAVEL at Rockbridge Guitar Co. Kentucky Bourbon Country 7 The Family Pool Table Joseph Rosendo’s Travel Musings Travel Insurance Museum of the U.S. Army in Charlottesville, Virginia. Fredericksburg, Texas Nostalgia • Food & Booze Plus Books • Giving Back YESTERYEAR Fun & Games 8 Jacqueline Bisset’s Sizzling Career Photograph by JJ Huckin 9 ‘Tinker Bell’ Model Engages with Flame TRAVEL 10 Experience Kentucky Bourbon Country FOOD, BREWS, & BOOZE 11 Joseph Rosendo, Cultivating Memories from Travel Experiences 24 Virginia Recipes for Home Cooks 12 Fredericksburg, Texas: A Tantalizing Twist 25 Explore American Craft Beer from Home -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Dear Movie-Goers
March 16, 2021 Dear movie-goers, Given the current availability of a wide spectrum of Werner Herzog's films (free) on Prime, I thought I would go ahead and assign Even Dwarfs Started Small (Herzog, 1970), which may be the strangest of all his films -- an allegory about political upheaval and anarchy within a group of captive little people. And then dipping back into the past with Tod Browning's (1932) Freaks, for which he was given almost complete artistic control by Universal after the popular success of his previous hit Dracula (1931). It was the first film ever to feature a cast of carnies, who were friends of Browning. His intent was to make a film depicting them as real people with feelings; though the end result may seem less than satisfying because it coopted them into a horror story of revenge. Freaks is a fictional story with the traditional narrative arc of a "horror" film; its original 90-minute running time was cut down to 60-minutes by the studio, before the film became banned from public performance. Even Dwarfs Started Small is a non-genre fictional story revealing a social order reduced to chaos. Both feature ensemble casts of "little people" and other carnival performers, with both directors caring very much about their cast, while Browning's is the more sympathetic view and Herzog's the more irreverent. (Though in the case of Herzog's film, one could argue that his use of a strikingly unusual cast of characters enabled mainstream audiences to see the socio-political disharmony effectively "over there" in "the others", only later to realize that the film was really allegorical in its intent.) You can view these in either order, but the intent will be to use them for inter-textual reference to discuss together as films made by iconoclastic filmmakers with unconventional casts. -
Patricia Highsmith's Queer Disruption: Subverting Gay Tragedy in the 1950S
Patricia Highsmith’s Queer Disruption: Subverting Gay Tragedy in the 1950s By Charlotte Findlay A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2019 ii iii Contents Acknowledgements ………………………………………………………………..……………..iv Abstract……………………………………………………………………………………………v Introduction………………………………………………………………………………………..1 1: Rejoicing in Evil: Queer Ambiguity and Amorality in The Talented Mr Ripley …………..…14 2: “Don’t Do That in Public”: Finding Space for Lesbians in The Price of Salt…………………44 Conclusion ...…………………………………………………………………………………….80 Works Cited …………..…………………………………………………………………………83 iv Acknowledgements Thanks to my supervisor, Jane Stafford, for providing always excellent advice, for helping me clarify my ideas by pointing out which bits of my drafts were in fact good, and for making the whole process surprisingly painless. Thanks to Mum and Tony, for keeping me functional for the last few months (I am sure all the salad improved my writing immensely.) And last but not least, thanks to the ladies of 804 for the support, gossip, pad thai, and niche literary humour I doubt anybody else would appreciate. I hope your year has been as good as mine. v Abstract Published in a time when tragedy was pervasive in gay literature, Patricia Highsmith’s 1952 novel The Price of Salt, published later as Carol, was the first lesbian novel with a happy ending. It was unusual for depicting lesbians as sympathetic, ordinary women, whose sexuality did not consign them to a life of misery. The novel criticises how 1950s American society worked to suppress lesbianism and women’s agency. It also refuses to let that suppression succeed by giving its lesbian couple a future together. -
Schwanebeck, Wieland
This is a pre-copyedited, author-produced version of an article accepted for publication in Adaptation following peer review. The version of re- cord: Schwanebeck, Wieland. “Mr Ripley’s Renaissance: Notes on an Adaptable Character.” Adaptation, vol.6, no. 3, Oxford Academic, Dec. 2013, pp. 355–64 is available online at:https://academic.oup.com/adaptation/article/6/3/355/2583851, doi:10.1093/adaptation/apt017. Wieland Schwanebeck Mr. Ripley’s Renaissance: Notes on an Adaptable Character “I’m a creation. I’m a gifted improviser. I lack your conscience and, when I was young, that troubled me. It no longer does. I don't worry about being caught because I don't think anyone is watching. […] The one thing I know is that we’re constantly being born.” - John Malkovich in Ripley’s Game (2003) This speech, given by Tom Ripley (John Malkovich) midway through Liliana Cavani’s adaptation of Patricia Highsmith’s novel, Ripley’s Game (2003), puts forward the idea that fictional heroes enjoy the privilege of living multiple lives, and nobody’s fate illustrates this better than Tom Ripley’s own. Ripley’s renaissance on screen during the past decade not only saw him reenter the public consciousness, but also presented the viewers with a unique case of a serialized (anti-)hero: Unlike James Bond, with whose cinematic career Ripley shares some interesting similarities,1 Ripley’s on-screen embodiments hardly show any stable parameters, presenting the audience with a new version of masculinity each time an actor took on the character. No screenwriter, director or actor has ever worked on the character more than once, and none of the Ripley films have been located during the same period, in the same setting, or genre, though all of them resort to Highsmith’s constellation of an American impostor who is taken with European culture, a kind of “sociopath Jay Gatsby” (Oates 47) who never ages and who usually manages to get away with his horrendous crimes. -
Book Factsheet Patricia Highsmith a Dog's Ransom
Book factsheet Patricia Highsmith Crime fiction, General Fiction A Dog's Ransom 432 pages 11.3 × 18 cm January 2004 Published by Diogenes as Lösegeld für einen Hund Original title: A Dog's Ransom World rights are handled by Diogenes Rights currently sold: Danish (Lindhardt & Ringhof) English/UK (Little, Brown) English/USA (Norton) French (Calmann-Lévy) Italian (La nave di Teseo) Spanish/world (Anagrama) Turkish (Can) Movie adaptations 2016: A Kind Of Murder Director: Andy Goddard Screenplay: Susan Boyd Cast: Patrick Wilson, Jessica Biel, Haley Bennett 2015: Carol / Salz und sein Preis Director: Todd Haynes Screenplay: Phyllis Nagy Cast: Cate Blanchett, Rooney Mara und Kyle Chandler 2014: The two faces of January Director: Hossein Amini Screenplay: Hossein Amini Cast: Kirsten Dunst, Viggo Mortensen, Oscar Isaac 2009: Cry of the Owl Director: Jamie Thraves Screenplay: Jamie Thraves Cast: Paddy Considine, Julia Stiles 2005: Ripley under Ground Director: Roger Spottiswoode Cast: Barry Pepper, Tom Wilkinson, Claire Forlani With an eerie simplicity of style, Patricia Highsmith turns our next- 1999: The Talented Mr. Ripley door neighbors into sadistic psychopaths, lying in wait among white Director: Anthony Minghella picket fences and manicured lawns. In A Dog's Ransom, Patricia Cast: Matt Damon, Gwyneth Paltrow, Jude Highsmith blends a savage humor with brilliant social satire in this Law, Cate Blanchett dark tale of a highminded criminal who hits a wealthy Manhattan couple where it hurts the most when he kidnaps their beloved poodle. 1996: Once You Meet a Stranger This work attests to Highsmith's reputation as »the poet of Director: Tommy Lee Wallace apprehension« (Graham Greene). -
Beware of Scammers: What You Should Registration Now Know to Protect Yourself
Serving the Cities of River Oaks and Westworth Village 78th Year No. 29 817-246-2473 7820 Wyatt Drive, Fort Worth, Texas 76108 suburban-newspapers.com July 19, 2018 Around the Town With Jo Ann Dennis and Melody Dennis Castleberry ISD Beware of Scammers: What You Should Registration Now Know to Protect Yourself Through July 31 is thief. All scammers are trying to steal something from you by using confusing tricks, which can It is time to start getting ready for the next appear legal and even good at first glance. They school year at Castleberry ISD. Online registration may try to steal your money, your identification opens on Monday, July 9 and closes on Tuesday, information, bank account information, and Social July 31. Castleberry ISD will be providing assis- Security number. These criminals will trick you tance for parents registering their child online at out of anything they can, if you go along with the Technology Building, located at 315 Churchill what they are asking. Road. Help will be available from 9 a.m. to 4 p.m. Some very common signs of scams are the fol- Monday through Thursday beginning Monday, lowing phrases, which the scammer will say to July 16 and ending Thursday, July 26. you on the phone: 1. You have been especially To get started with online registration visit the selected for this offer. 2. You will get a free bonus Family Access page at www.castleberryisd.n- if you buy our product. 3. You have won one of et/family/familyaccess. five valuable prizes. -
Textures of Uncertainty Patricia Highsmith’S Minimalism
Ingrid Hotz-Davies Textures of Uncertainty Patricia Highsmith’s Minimalism Many critics have commented on the intractable nature of Patricia Highsmith’s fiction, so much so that Neil Gordon, for example, is amazed at “how radically Patricia Highsmith does not fit in,” how even her best-known cycle of novels, the Ripley Series,1 “has resolutely declined classification. More disturbing is it that even for its critics it has stubbornly refused, like a patient on a psycho- analyst’s couch, to lie down and tell its story” (Gordon 16). At the same time, if there is one thing critics and readers alike seem to agree on, it is that Highsmith stands as one of the great literary artists of unease, even dread.2 Whether we think of the decidedly queer story of murderous temptation in her first novel Strangers on a Train (1950), immediately turned into a film by Alfred Hitchcock (1951), her lesbian novel The Price of Salt, first published under the pseudonym Claire Morgan in 1952, The Cry of the Owl (1962), a relentless tale of stalkers and stalkers stalked,3 or indeed of her last novel Small g: A Summer Idyll published in the year of her death (1995), a “summer idyll” involving the patrons of a small cross-over gay bar in Zurich, which appears not so much idyllic as hang- ing in uneasy balance over a continually felt abyss of potential disaster and violence: hers is not a fictional universe one would, in Terry Castle’s words, be easily tempted to “cozy up to” (28). -
Identity and Language in the Postmodern Fiction of Chandler, Highsmith and Christie
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarBank@NUS THE CENTRE CANNOT HOLD: IDENTITY AND LANGUAGE IN THE POSTMODERN FICTION OF CHANDLER, HIGHSMITH AND CHRISTIE PHAY CHOONG SIEW JOSEPHINE (BA (Hons) NUS) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLISH LANGUANGE AND LITERATURE NATIONAL UNIVERSITY OF SINGAPORE 2012 Phay ii Acknowledgements I am deeply grateful to Dr. Susan Ang for correcting every draft of this thesis, for the books and films she recommended and lent me, and for her generous guidance, advice, and reassurance. Phay iii Contents Introduction: The Centre Cannot Hold—Crime Fiction and Postmodernism .................. 1 Crime Fiction and Postmodernism .................................................................................... 1 “The Centre Cannot Hold” .............................................................................................. 12 Defining (De)centredness ............................................................................................... 19 Raymond Chandler: Fragmented Worlds, Fractured Selves ............................................ 29 “I” is for Identity: The Private Eye/I and Centredness .................................................... 30 “L” is for Language: Language, Lies, and Links/Connections .......................................... 41 “P” is for Postmodern: Play-acting, the Press, and a World in Pieces ............................ 48 Patricia Highsmith: Deviance in the Open ......................................................................... -
Patricia Highsmith Books Pdf
Patricia highsmith books pdf Continue Influential author of The Unknown Patricia Highsmith is still not exactly a household name, but her books have had a lasting impact on pop culture and literature for several decades. Anthony Minghella's 1999 film The Talented Mr. Ripley starring Matt Damon was based on Highsmith's novel of the same name. Many other directors, including Alfred Hitchcock, Renee Clement and Wim Wenders, adapted her work, and her characters were brought to life on screen by the likes of Dennis Hopper, John Malkovich and Cate Blanchett. Much of Highsmith's early work, which has now entered the mainstream, contains strange subtexts or strange coded characters, and she wrote a novel in the early 1950s that was significant at the time for showing a novel between two women with a happy, if complex, ending. This book, Carol, was originally published under a pseudonym, but in the final years of her career, Highsmith began to include more characters in books she wrote under her own name that were openly and unequivocally strange. Despite Highsmith's importance to LGBT literature and the literary world in general, immersing herself in her work means being subjected to the personal flaws she has brought to her. Accidental (and not so casual) racism has leaked into many of her books. This uncomfortable truth sits next to the fact that its fiction, albeit in a rather strange and devious way, is refreshingly anti-capitalist and more than willing to paint the police, the U.S. prison system, and the rich in a very unflattering light.