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From “one of the great short story writers of our time” (The Philadelphia Inquirer)—nine stories and a poem that offer a searing portrait of American innocence and loss—and formed the basis for the film “Short Cuts” directed by Robert Altman. With deadpan humor and enormous tenderness, this is the work of “one of the true contemporary masters” (The New York Review of Books). Features stories from the collections Will You Please Be Quiet, Please?, Where I’m Calling From, What We Talk About When We Talk About Love, and A New Path to the Waterfall; including an introduction by Robert Altman.
Published to coincide with the release of Altman's film based on nine interlocking stories by Raymond Carver, this screenplay weaves dramatic themes together without affecting the integrity of the stories. Color portraits of the 22 main characters, including Tim Robbins, Lily Tomlin, and Jack Lemmon.
Year after year, Rafe Esquith’s fifth-grade students excel. They read passionately, far above their grade level; tackle algebra; and stage Shakespeare so professionally that they often wow the great Shakespearen actor himself, Sir Ian McKellen. Yet Esquith teaches at an L.A. innercity school known as the Jungle, where few of his students speak English at home, and many are from poor or troubled families. What’s his winning recipe? A diet of intensive learning mixed with a lot of kindness and fun. His kids attend class from 6:30 A.M. until well after 4:00 P.M., right through most of their vacations. They take field trips to Europe and Yosemite. They play rock and roll. Mediocrity has no place in their classroom. And the results follow them for life, as they go on to colleges such as Harvard, Princeton, and Stanford. Possessed by a fierce idealism, Esquith works even harder than his students. As an outspoken maverick of public education (his heroes include Huck Finn and Atticus Finch), he admits to significant mistakes and heated fights with administrators and colleagues. We all—teachers, parents, citizens—have much to learn from his candor and uncompromising vision.
Film Editing provides an introduction to the craft of editing in the non-silent film. In clear and accessible language, Valerie Orpen considers editing as an expressive strategy rather than a mere technique. She reveals that editing can be approached and studied in a similar way to other aspects of film. Traditionally, studies on editing or montage tend to focus on silent cinema, yet this book claims that an examination of editing should also consider the role of the soundtrack. The aim of Film Editing is to examine the way in which editing can make meaning. The book addresses editing as part of a wider context and as a crucial element of the overarching design and vision of a film. Consequently, this book incorporates other parameters, such as mise-en-scène, framing, sound, genre, history, and performance. By examining a number of mainstream and art films, such as Godard's A bout de souffle, Hitchcock's Rear Window, and Scorsese's Raging Bull, Film Editing seeks to dispel the notion that editing is necessarily polarized as continuity versus discontinuity.
Clear, concise compendium of about 150 time-saving math short-cuts features faster, easier ways to add, subtract, multiply, and divide. Each problem includes an explanation of the method. No special math ability needed.
A new and expansive collection of essays from one of the world's best-known popular philosophers The moderator of the New York Times’ Stone column and the author of numerous books on everything from Greek tragedy to David Bowie, Simon Critchley has been a strong voice in popular philosophy for more than a decade. This volume brings together thirty†‘five essays, originally published in the Times, on a wide range of topics, from the dimensions of Plato’s academy and the mysteries of Eleusis to Philip K. Dick, Mormonism, money, and the joy and pain of Liverpool Football Club fans. In an engaging and jargon†‘free style, Critchley writes with honesty about the state of world as he offers philosophically informed and insightful considerations of happiness, violence, and faith. Stripped of inaccessible academic armatures, these short pieces bring philosophy out of the ivory tower and demonstrate an exciting new way to think in public.
NATIONAL BESTSELLER • This gripping and triumphant memoir from the author of The Mountain follows a living legend of extreme mountaineering as he makes his assault on history, one 8,000-meter summit at a time. “From the drama of the peaks, to the struggle of making a living as a professional climber, to the basic how-tos of life at 26,000 feet, No Shortcuts to the Top is fascinating reading.”—Aron Ralston, author of Between a Rock and a Hard Place and subject of the film 127 Hours For eighteen years Ed Viesturs pursued climbing’s holy grail: to stand atop the world’s fourteen 8,000-meter peaks, without the aid of bottled oxygen. But No Shortcuts to the Top is as much about the man who would become the first American to achieve that goal as it is about his stunning quest. As Viesturs recounts the stories of his most harrowing climbs, he reveals a man torn between the flat, safe world he and his loved ones share and the majestic and deadly places where only he can go. A preternaturally cautious climber who once turned back 300 feet from the top of Everest but who would not shrink from a peak (Annapurna) known to claim the life of one climber for every two who reached its summit, Viesturs lives by an unyielding motto, “Reaching the summit is optional. Getting down is mandatory.” It is with this philosophy that he vividly describes fatal errors in judgment made by his fellow climbers as well as a few of his own close calls and gallant rescues. And, for the first time, he details his own pivotal and heroic role in the 1996 Everest disaster made famous in Jon Krakauer’s Into Thin Air. In addition to the raw excitement of Viesturs’s odyssey, No Shortcuts to the Top is leavened with many funny moments revealing the camaraderie between climbers. It is more than the first full account of one of the staggering accomplishments of our time; it is a portrait of a brave and devoted family man and his beliefs that shaped this most perilous and magnificent pursuit.
'War Cinema' presents an introduction to and overview of films that take war as their main theme. Framing the era with 'Apocalypse Now' and 'Apocalypse Now Redux', the author initially focuses on Vietnam on film in the 1970s and 1980s and how this divisive war was represented.