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Let's Kill the Teacher
In its readiness to listen in on the speech of a wide variety of ordinary, working people, and to give us insights into the texture of their daily lives, Dent's writing is not merely unfashionable, it is like very little that is currently being written (or anyway published.) It does however remind me of that fine, scandalously neglected American writer, Nelson Algren. Like Algren, Dent's socialism, while never reductive, is integral to his vision of what life is and what it could be. And like Algren, he makes satisfying stories out of what happens to happen to the kind of people whose existence, when it's noticed at all, is for the most part caricatured or sentimentalized. In other words, Dent testifies to the value of Camus's claim that art is nobody's enemy, because it opens the prisons and gives voice to the sorrows and joys of all. John Lucas
Haunted London
This was the first book on London's ghosts, when Peter Underwood was President of the Ghost Club. He is uniquely qualified to write Haunted London, presenting a parade and gazetteer of the psychic phenomena of Britain's capital city - a city with nearly ten million living inhabitants and the ghosts of many dead ones.
Movie Roadshows
This work examines a film distribution system paralleling the rise of early features and persisting until 1972, when Man of La Mancha was the final roadshow to require reserved seating. Synonymous with Hollywood's star-studded premieres, roadshows were longer and cost more than regular features, making the experience similar to attending the legitimate theater. Roadshows, often epic in subject matter, played selected (usually only one) theaters in major urban centers until demand decreased. De rigueur by the 1960s were musical overtures, intermissions, entre'acte and exit music and souvenir programs for sale in the lobby. Throughout the text are recollections by people who attended roadshows, including actor John Kerr and actresses Barbara Eden and Ingrid Pitt. The focus is on roadshows released in the United States but an appendix identifies international roadshows and films forecast but not released as roadshows. Included are plots, contemporary critical reaction, premiere dates, production background, and methods of promotion--i.e., the ballyhoo.
Film Quotations
Certain lines define a movie. Marlene Dietrich in Morocco: “Anyone who has faith in me is a sucker.” Too, there are lines that fit actor and character. Mae West in I’m No Angel: “I’m very quick in a slow way.” Jane Fonda in California Suite: “Fit? You think I look fit? What an awful shit you are. I look gorgeous.” From the classics to the grade–B slasher movies, over 11,000 quotes are arranged by over 900 subjects, like accidents, double entendres, eyes (and other body parts!), ice cream, luggage, parasites, and ugliness. Each quote gives the movie title, production company, year of release, speaker of the line, and, when appropriate, a comment putting the quote in context.
Shakespeare Performed
Many of the contributors to this collection, including E. A. J. Honigmann, M. M. Mahood, Jonathan Bate, and Stanley Wells (among others), have been centrally involved in examining, promoting, and sometimes questioning the critical dominance of the stable Shakespeare text, particularly as a result of performance. The essays range from the traditional poetical and theater history inquiries through bibliographical examinations and hermeneutical interpretations.
LIFE
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.
Filming Shakespeare's Plays
Shakespeare's plays provide wonderfully challenging material for the film maker. While acknowledging that dramatic experiences for theatre and cinema audiences are significantly different, this book reveals some of the special qualities of cinema's dramatic language in the film adaptations of Shakespeare's plays by four directors - Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa - each of whom has a distinctly different approach to a film representation. Davies begins his study with a comparison of theatrical and cinematic space showing that the dramatic resources of cinema are essentially spatial. The central chapters focus on Laurence Olivier's Henry V, Hamlet and Richard III; Orson Welles' Macbeth, Othello and Chimes at Midnight; Peter Brook's King Lear and Akira Kurosawa's Throne of Blood. Davies discusses the dramatic problems posed by the source plays for these films for the film maker and he examines how these films influenced later theatrical stagings. He concludes with an examination of the demands that distinguish the work of the Shakespearean stage actor from that of his counterpart in film.
New York Magazine
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Argyll Street: One Man's Journey from the Pit to the Front Line
ARGYLL STREET is a historical novel based on the life of William Gregory who was born in Aspull, Lancashire, in 1879. He followed his Father and Brother to work in the coal mine at the age of ten. In 1906 William emigrated to Canada and was joined by his wife Elizabeth and two children a year later. They lived at 38 Argyll Street, Sydney, Glace Bay NS. Following the outbreak of WW1 in 1916 he returned to the UK serving with the 25th Battalion Nova Scotia Rifles (Cape Breton Highlanders). In August 1917 the unit was part of the 5th Infantry Brigade which distinguished itself at the Battle of Hill 70, a northern suburb of Lens. William was killed in action on the 16th August and is buried in the Aix Noulette Communal Cemetery, Pas de Calais, France.
