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divCollege years—when ideas collide, literature intrigues and inspires, lasting passions are first fired—can stamp a young writer for life. This extraordinary book contains the work of dozens of writers whose experiences at Yale over the past three centuries exerted a powerful force on their writing lives. Formed and nurtured by the unique intellectual community of the university, writers as diverse as Noah Webster and Gloria Naylor emerged from Yale to make their own fresh contributions to our nation’s remarkable literary heritage. From the galaxy of authors Yale has produced, J. D. McClatchy selects a rich and varied sample. He includes sermons, essays, poems, short stories, and exce...
THE STORY: Two young men, both nineteen and visiting Cape Cod for an adventuresome weekend, spot two attractive girls, slightly older than themselves, and set about trying to pick them up. The eagerness of the boys is contrasted with the disinteres
THE STORY: Ben and Joanie, in their mid-thirties and married eight years, are an upwardly mobile Yuppie couple about to become parents for the first time. Ben (who is Jewish) works in television, Joanie (a quintessential WASP) is a would-be artis
In Frames of Evil: The Holocaust as Horror in American Film, Picart and Frank challenge this classic horror frame--the narrative and visual borders used to demarcate monsters and the monstrous. After examining the way in which directors and producers of the most influential American Holocaust movies default to this Gothic frame, they propose that multiple frames are needed to account for evil and genocide.
Yes, you can write a great screenplay. Let Syd Field show you how. “I based Like Water for Chocolate on what I learned in Syd's books. Before, I always felt structure imprisoned me, but what I learned was structure really freed me to focus on the story.”—Laura Esquivel Technology is transforming the art and craft of screenwriting. How does the writer find new ways to tell a story with pictures, to create a truly outstanding film? Syd Field shows what works, why, and how in four extraordinary films: Thelma & Louise, Terminator 2: Judgement Day, The Silence of the Lambs, and Dances with Wolves. Learn how: Callie Khouri, in her first movie script, Thelma & Louise, rewrote the rules for go...
There's a killer on the loose and the police have no leads. FBI special agent Will Graham is called out of retirement for his special talent of tracking and catching serial murderers. The last one nearly killed him. The FBI needs Graham's insight and Graham needs Dr. Hannibal Lecter's genius. Asking Lecter for help may prove to be the biggest mistake Graham has ever made.
"Klaver applies post-structuralist theories of subjectivity to drama while ranging through Beckett's plays, National Hockey League games, The Tonight Show, gay and lesbian drama, minority drama, avant-garde performance, and the topics of theatrical paranoia, the mediatized Imaginary, and the spectatorial gaze. By navigating the political minefield of television sex and violence, Klaver shows how drama can subvert those ideologies that would discipline the performance arts."--BOOK JACKET.
Since the publication of Dracula in 1897, Bram Stoker's original creation has been a source of inspiration for artists, writers, and filmmakers. From Universal's early black-and-white films and Hammer's Technicolor representations that followed, iterations of Dracula have been cemented in mainstream cinema. This anthology investigates and explores the far larger body of work coming from sources beyond mainstream cinema reinventing Dracula. Draculas, Vampires and Other Undead Forms assembles provocative essays that examine Dracula films and their movement across borders of nationality, sexuality, ethnicity, gender, and genre since the 1920s. The essays analyze the complexity Dracula embodies outside the conventional landscape of films with which the vampire is typically associated. Focusing on Dracula and Dracula-type characters in film, anime, and literature from predominantly non-Anglo markets, this anthology offers unique perspectives that seek to ground depictions and experiences of Dracula within a larger political, historical, and cultural framework.
Many British films never make it to the screen. Obstacles of finance, censorship, distribution or creative breakdown can appear in their way, and they might even fail to get beyond the script stage. This book collects new essays by leading scholars that use archival resources to reconstruct the stories behind a range of films by prominent film-makers. These thwarted productions are all too often excluded from histories of British cinema, but the accounts of their unmaking contained in Sights Unseen provides an illuminating insight into the factors which have served to undermine the stability of the film industry in Britain.
In the winter of 1911-1912, five Englishmen and five Norwegians raced each other to the bottom of the earth. Only the five Norwegians returned. This is the story of the Englishmen.