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Film Quotations by Robert A. Nowlan,Gwendolyn W. Nowlan Pdf
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.
The Dictionary of Film Quotations by Melinda Corey,George Ochoa Pdf
The first book to gather lines from more than 1,000 all-time, classic films in one volume, this handy dictionary is a perfect source for movie buffs or quotation users. Alphabetized by movie with special indices by speaker, subject, and key word. Each entry features studio, director, scriptwriter, principal cast, and speaker.
Quotations are a standard way that the humanities make meaning; the pull-quote, epigraph, and quotation are standard for citing evidence and invoking and interrogating authority in both literary and scholarly writing. However, film studies has yet to seriously examine how moving images can quote one another, convening interaction and creating new knowledge across time. Classical Projections offers film quotation as a new concept for understanding how preexisting moving image fragments are reframed and re-viewed within subsequent films. As a visual corollary to literary quotation, film quotations embed film fragments in on-screen movie screens. Though film quotations have appeared since silent cinema, Classical Projections focuses on quotations of classical Hollywood film--mainstream American studio production, 1915-1950--as quoted in post-classical Hollywood, roughly 1960 to present. This strategic historical frame asks: how does post-classical cinema visualize its awareness of coming after a classical or golden age? How do post-classical filmmakers claim or disavow classical history? How do historically disenfranchised post-classical filmmakers, whether by gender, sexuality, or race, grapple with exclusionary and stereotype-ridden canons? As a constitutive element of post-classical authorship, film quotations amass and manufacture classical Hollywood in retrospective, highly strategic ways. By revealing how quotational tellings of film history build and embolden exclusionary, myopic canons, Classical Projections uncovers opportunities to construct more capacious cultural memory.
The Most Iconic Film Quotes of All Time by Margaret W. Lavigne Pdf
Film, Wings (1927) Film, The Thief of Bagdad (1924) Film, Dr. Jekyll and Mr. Hyde (1920) Film, Beyond the Rocks (1922) Film, The Cabinet Of Dr.Caligari (1920) Film, A Daughter Of Destiny (1928) Film, 7th Heaven (1927) Film, The Cabinet Of Dr.Caligari (1920) Film, A Woman of Paris: A Drama of Fate (1923) Film, The Kid Brother (1927) Film, The Sheik (1921) Film, The Phantom of the Opera (1925) Film, Gösta Berlings saga (1924) Film, The Thief of Bagdad (1924) Film, The Three Musketeers (1921) Film, Sunrise: A Song of Two Humans (1927) Film, The Crowd (1928) Film, Stachka (1925)
Alone, the second wacky comedic murder romp for Hollywood film detective Valentino, from award-winning author Loren D. Estleman Valentino wants to keep The Oracle, his beloved run-down movie palace, from being condemned before it even reopens, but murder keeps intruding into his otherwise quiet life. At a gala party held in memory of screen legend Greta Garbo, he's having fun until the host, a hotshot developer named Matthew Rankin, tells Valentino about a certain letter from Garbo to his late wife. She and Garbo had been...close. Such a letter is of great interest to a film archivist like Valentino, but the the plot thickens when Rankin tells Val that his assistant, Akers, is using this letter to blackmail him. Val is appalled by the thought of blackmail...but that letter sounds juicier all the time. Returning to Rankin's mansion after the party, Val finds Rankin sitting at his desk with a pistol in his hand, looking at Akers's dead body on the floor. Valentino's in a quandary. He'd love to see that letter, but he can't. He's gotten his girlfriend—who works for the police—in trouble, so his love life is, pardon the expression, shot to hell. Worse yet, the building inspector has kicked him out of his unfinished living space in the Oracle, so he takes his life in his hands and moves in with his eccentric mentor, the elderly, insomniac Professor Broadhead. No love, no sleep, no letter—life isn't fair! At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
The author uses her wide experience as an acting and voice coach an major movies to offer insights into the film acting process. She provides tasks, techniques and tips that are designed specifically for film: there's advice to make the first-time film actor feel at home on set, tips on the casting process, how to cope with auditions, on-camera techniques, schedules and shooting order, as well as specific advice from film crews to help an actor's performance. This practical workbook combines exercises and anecdotes in an informal and accessible style, making it the indispensable guide for anyone wishing to light up the silver screen.
The Wordsworth Dictionary of Quotations by Connie Robertson Pdf
Quotations have exercised a particular fascination for humanity since the birth of recorded language and their potency in the age of the soundbite is stronger than ever. We revel in quotations, compete to know them, love them, hate them and inscribe them in books and on buildings, and this freshly revised and updated dictionary includes a wealth of new material among its 13,000 familiar, serious, outrageous, witty and thought-provoking entries.The Wordsworth Dictionary of Quotations is an essential work of reference for every writer, journalist and speech-maker, as well as being a treasure-trove for the browser and the simply curious. From the Roman poet Ovid's observation that 'Judgement of beauty can er, what with the wine and the dark' to Oscar Wilde's that 'Experience is the name everyone gives to their mistakes', there is a wide diversity of sayings to add spice to our conversation and enrich our daily lives. The book is alphabetically arranged by author and indexed by keyword for ease of use.
No single work is more responsible for the heightened interest in argumentation and informal reasoning—and their relation to ethics and jurisprudence in the late twentieth century—than Chaïm Perelman and Lucie Olbrechts-Tyteca’s monumental study of argumentation, La Nouvelle Rhétorique: Traité de l'Argumentation. Published in 1958 and translated into English as The New Rhetoric in 1969, this influential volume returned the study of reason to classical concepts of rhetoric. In The Promise of Reason: Studies in The New Rhetoric, leading scholars of rhetoric Barbara Warnick, Jeanne Fahnestock, Alan G. Gross, Ray D. Dearin, and James Crosswhite are joined by prominent and emerging European and American scholars from different disciplines to demonstrate the broad scope and continued relevance of The New Rhetoric more than fifty years after its initial publication. Divided into four sections—Conceptual Understandings of The New Rhetoric, Extensions of The New Rhetoric, The Ethical Turn in Perelman and The New Rhetoric, and Uses of The New Rhetoric—this insightful volume covers a wide variety of topics. It includes general assessments of The New Rhetoric and its central concepts, as well as applications of those concepts to innovative areas in which argumentation is being studied, such as scientific reasoning, visual media, and literary texts. Additional essays compare Perelman’s ideas with those of other significant thinkers like Kenneth Burke and Richard McKeon, explore his career as a philosopher and activist, and shed new light on Perelman and Olbrechts- Tyteca’s collaboration. Two contributions present new scholarship based on recent access to letters, interviews, and archival materials housed in the Université Libre de Bruxelles. Among the volume’s unique gifts is a personal memoir from Perelman’s daughter, Noémi Perelman Mattis, published here for the first time. The Promise of Reason, expertly compiled and edited by John T. Gage, is the first to investigate the pedagogical implications of Perelman and Olbrechts- Tyteca’s groundbreaking work and will lead the way to the next generation of argumentation studies.
Author : Steven Mintz,Randy W. Roberts Publisher : John Wiley & Sons Page : 417 pages File Size : 49,7 Mb Release : 2010-03 Category : History ISBN : 9781405190039
Hollywood's America by Steven Mintz,Randy W. Roberts Pdf
Fully revised, updated, and extended, this compilation of interpretive essays and primary documents teaches students to read films as cultural artifacts within the contexts of actual past events. A new edition of this classic textbook, which ties movies into the broader narrative of US and film history Ten new articles which consider recently released films, as well as issues of gender and ethnicity Well-organized within a chronological framework with thematic treatments to provide a valuable resource for students of the history of American film Fourth edition includes completely new images throughout
T&T Clark Handbook of Jesus and Film by Richard Walsh Pdf
The T&T Clark Handbook of Jesus and Film introduces postgraduate readers to the critical field of Jesus and/on film. The bulk of biblical films feature Jesus, as protagonist, in cameo, or as a looming background presence or pattern. The handbook assesses the field in light of the work of important biblical film critics including chapters from the leading voices in the field and showcasing the diversity of work done by scholars in the field. Movies discussed include The Passion of the Christ, The King of Kings, Jesus of Nazareth, Monty Python's Life of Brian, Son of Man, and Mary Magdalene. The chapters range across two broad areas: 1) Jesus films, understood broadly as filmed passion plays, other relocations of Jesus, historical Jesus treatments, and Jesus adjacent cinema (privileging invented characters or “minor” gospel characters); and 2) other cinematic Jesuses, including followers who imitate Jesus devotionally or aesthetically, (Christian) Christ figures, antichrists, yet other messiahs, and competing Jesuses in a pluralist world. As one leaves the confines of Christian theology, the question of what a film or interpreter is doing with Jesus or Christ becomes something to be determined, not necessarily something traditional.
The New Yale Book of Quotations by Fred R. Shapiro Pdf
A revised, enlarged, and updated edition of this authoritative and entertaining reference book —named the #2 essential home library reference book by the Wall Street Journal “Shapiro does original research, earning [this] volume a place on the quotation shelf next to Bartlett's and Oxford's.”—William Safire, New York Times Magazine (on the original edition) “A quotations book with footnotes that are as fascinating to read as the quotes themselves.”—Arthur Spiegelman, Washington Post Book World (on the original edition) Updated to include more than a thousand new quotations, this reader-friendly volume contains over twelve thousand famous quotations, arranged alphabetically by author and sourced from literature, history, popular culture, sports, digital culture, science, politics, law, the social sciences, and all other aspects of human activity. Contemporaries added to this edition include Beyoncé, Sandra Cisneros, James Comey, Drake, Louise Glück, LeBron James, Brett Kavanaugh, Lady Gaga, Lin-Manuel Miranda, Barack Obama, John Oliver, Nancy Pelosi, Vladimir Putin, Bernie Sanders, Donald Trump, and David Foster Wallace. The volume also reflects path-breaking recent research resulting in the updating of quotations from the first edition with more accurate wording or attribution. It has also incorporated noncontemporary quotations that have become relevant to the present day. In addition, The New Yale Book of Quotations reveals the striking fact that women originated many familiar quotations, yet their roles have been forgotten and their verbal inventions have often been credited to prominent men instead. This book’s quotations, annotations, extensive cross-references, and large keyword index will satisfy both the reader who seeks specific information and the curious browser who appreciates an amble through entertaining pages.
"The time to live and the place to die. That's all any man gets. No more, no less"-Parson (Hank Worden) in The Alamo."Look, I don't mean to be a sore loser, but when it's done...if I'm dead...kill him!"-Butch Cassidy (Paul Newman) in Butch Cassidy and the Sundance Kid."Well, there are some things a man just can't run away from"-The Ringo Kid (John Wayne) in Stagecoach.KID: "Why don't we have a drink for old times' sake?" BUTCH: "Old times' sake? That means you got no cash"-Kid Sheleen (Lee Marvin) and Butch Cassidy (Arthur Hunnicutt) in Cat Ballou.This is a topically arranged compilation of over 6,000 famous lines and memorable quotes from over 1,000 western films, from the 1920s to 1998. Indexes to actors and actresses, film names and narrow subjects provide instant access for both cowboy fans and western film scholars.
What is the relationship between cinema and spectator? This is the key question for film theory, and one that Thomas Elsaesser and Malte Hagener put at the center of their insightful and engaging book, now revised from its popular first edition. Every kind of cinema (and every film theory) first imagines an ideal spectator, and then maps certain dynamic interactions between the screen and the spectator’s mind, body and senses. Using seven distinctive configurations of spectator and screen that move progressively from ‘exterior’ to ‘interior’ relationships, the authors retrace the most important stages of film theory from its beginnings to the present—from neo-realist and modernist theories to psychoanalytic, ‘apparatus,’ phenomenological and cognitivist theories, and including recent cross-overs with philosophy and neurology. This new and updated edition of Film Theory: An Introduction through the Senses has been extensively revised and rewritten throughout, incorporating discussion of contemporary films like Her and Gravity, and including a greatly expanded final chapter, which brings film theory fully into the digital age.