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Living with Art
A catalouge of the unique collection of modern and contemporary prints and drawings of film critic and author Alexander Walker (1930-2003). Features artists inlcuding Pablo Picasso, Henri Matisse, Bridget Riley, Lucian Freud, Chuck Close, Philip Guston and Vija Celmins.
Beauty
It maybe set down, we suppose, as a matter sufficiently settled to become a principle, that men are moved by nothing more generally and certainly than by the power of Beauty--particularly Beauty in Woman. That it has an influence upon all of one sex, like that which Master Shakspeare has given picture of in the lines we have set upon our front, we would not pretend to say: but that the wild bard was no freshman in his knowledge of humanity so far as heart and mind matters were concerned, we feel safe to assert--and feel confident that the passionate language of Romeo trespasses no bounds, and is but a faithful declaration of a power that rules with a milder or a mightier sway in the bosoms o...
Superstars
None
Icons in the Fire
Four Weddings and a Funeral, Notting Hill, The Full Monty, Bridget Jones’ Diary—all these box-office hits were made in Britain, and yet none were financed by British money. In this final volume of his trilogy, Alexander Walker gives us the inside story of the British film industry from 1984 to 2000. He tackles questions like why a nation that produces actors of the caliber of Kenneth Branagh, Daniel Day-Lewis, and Emma Thompson, as well as directors like Anthony Minghella, Sam Mendes, and Stephen Frears, cannot sustain a native film industry.
Beauty in Woman
Reproduction of the original: Beauty in Woman by Alexander Walker
Hours Off and on Sentry
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Alexander Walker
The story is told in the first person point of view by the main character, Alexander Walker. Every chapter is another story in Alexander's life. Alexander is not like anyone else. He sees things that nobody else can see and experiences things that people only experience in their nightmares. His journey includes dealing with demons and spirits, the possessed and the deceived, the loss of a loved one, and physical, emotional, and spiritual torment. "The things I have seen in the twenty something years of my life, most people never see in a life time. I don't regret anything, and I wouldn't want anything to be different. This is my life."
Hollywood, England
'Hollywood England' is a book of an era as much as of the cinema. The focus of Walker's commentary is American power operating on British talent as, in the sixties, for the first time British cinema achieved a truly national character.It was an era of Billy Liar and Kes, of the Beatles, musicals, the whole swinging London cycle; of directors such as Richardson, Loach and Russell and stars such as Albert Finney, Michael Caine and Julie Christie. And yet there was the irony that by the end of the decade Hollywood sustained 95% of British film making. Alexander Walker traces the change from the sober reality of post-Suez Britain to the consumer boom, and gives sharp judgements and critical appraisals on the vast variety of American and British film people who made up this extraordinary new wave.
Stardom
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