Book Description
Given the phenomenal fame and commercial success that the Beatles knew for the entire course of their familiar career, their music per se has received surprisingly little detailed attention. Not all of their cultural influence can be traced to long hair and flashy clothing; the Beatles had numerous fresh ideas about melody, harmony, counterpoint, rhythm, form, colors, and textures. Or consider how much new ground was broken by their lyrics alone--both the themes and imagery of the Beatles' poetry are key parts of what made (and still makes) this group so important, so popular, and so imitated. This book is a comprehensive chronological study of every aspect of the Fab Four's musical life--including full examinations of composition, performance practice, recording, and historical context--during their transcendent late period (1966-1970). Rich, authoritative interpretations are interwoven through a documentary study of many thousands of audio, print, and other sources.
Customer Reviews:
Well done.......2007-05-16
To understand the majority of this book one would need a music theory background, possibly at the graduate level.
I was surprised at the amount of other information provided as to ho played which instrument.
Very well researched.
A Fine Review Of The Beatles' Later Music.......2005-07-14
This book and its companion (which traces the Beatles' music from its beginnings through "Rubber Soul") demonstrate that there are writers who are serious about the remarkable music of the Beatles. Apart from Mellers' rather professorial, pedantic book and Riley's excellent, approachable book, there is a dearth of material on the music of the Beatles, apart from their sociological or gender ramifications, their cultural iconic status and their effect on fashion and morals, etc. And the music is the only aspect of the Beatles that should matter, since they were incredible musicians and their music has clearly withstood the test of time. Forget other recent books about the Beatles, such as "Meet the Beatles," which reassesses their sociological and gender significance largely by repeating what was previously written about them. Everett succeeds brilliantly in reviewing the Beatles' music as if he were reviewing the music of any great composer. For those who do not have a background in music theory, certain parts of this book may be difficult to comprehend. However, it is worth the effort. A fine achievement.
A 10-Star Salute.......2004-09-03
If you are interested in the technical aspects of the Beatles' music, then make this book your best friend. This book has a plethora of information that will enthrall readers from those who are mildly interested in the Beatles to their most inveterate fans.
As noted in another review, for those who are not interested in the technical parts of this work, skip ahead to other parts of this book and prepare to be delighted. This book is a compliment to the intelligence of its readers; this author has done a sterling job of researching his material.
Hats off and a 10+ star review for this book!
Best study of the Beatles' music.......2001-11-30
A goldmine for anyone interested in the Beatles! By far the best study of the Beatles' music, indeed of any repertory of popular music. Everett includes technical analyses that will assist and inform musicians and scholars. BUT the general reader must not be scared off by the technical sections! If you're not familiar with music theory, skip the technical parts and you still have the best coverage of the Beatles as composers, with historical and personal details accurately recounted for each song and album. Impressed by Everett's work, the Beatles gave Everett unprecedented access to sketches and other unpublished material.
Both author and publisher deserve 10 stars for this magnificent effort.
Excellent book.......2001-10-20
The author knows his subject and, when considering the market for the book, must have decided not to "dumb it down". Good work!
Book Description
This authoritative anthology presents key selections from the best contemporary work in philosophy of film and motion pictures. Designed for classroom use, the essays that comprise this volume have been specially chosen for their clarity, precision, philosophical depth, and consonance with current cognitive science and psychology.The volume's eight sections, each introduced by the editors, cover topics such asFilm as artThe nature of filmDocumentary cinemaNarration and emotion in filmFilm criticismFilm's relation to knowledge and moralityWhether addressing assumptions about the objectivity of documentary film, fear of movie monsters, or moral questions surrounding the viewing of pornography, this text is replete with examples and discussion of moving pictures throughout.
Book Description
This anthology offers a collection of some of the most provocative and influential writings of film theory from the 1960s and 1970s, along with new directions from the last two decades. An introductory essay to the volume sums up developments in film theory from the beginning up through the 1980s, while introductions to specific groupings of essays summarize debates on those issues. Rather than look at film theory in terms of schools and allegiances, the editors investigate questions and problematics: What is the cinema? What is the cinematic apparatus? How do spectators differ in their desires? What is realism? Is realism desirable? Thus psychoanalysis, reception theory, cognitive theory, race theory, and feminism all provide partially valid answers to the question: What does the spectator want? This anthology's goal is to facilitate a polylogue among the theorists who have ignored or maligned one another and to deprovincialize film theory. Film Theory multiplies the perspectives and positions, the situations and locations, from which film theory is spoken.
Book Description
The past 40 years of technological innovation have significantly altered the materials of production and revolutionized the possibilities for experiment and exhibition. Not since the invention of film has there been such a critical period of major change in the imaging technologies accessible to artists. Bringing together key artists in film, video, and digital media, the anthology of Experimental Film and Video revisits the divergent philosophical and critical discourses of the 1970s and repositions these debates relative to contemporary practice. Forty artists have contributed images, and 25 artists reflect on the diverse critical agendas, contexts, and communities that have affected their practice across the period from the late 1960s to date. Along with an introduction by Jackie Hatfield and forewords by Sean Cubitt and Al Rees, this illustrated anthology includes interviews and recent essays by filmmakers, video artists, and pioneers of interactive cinema. Experimental Film and Video opens up the conceptual avenues for future practice and related critical writing.
Customer Reviews:
The perfect guide for college collections strong in film media........2006-10-15
Artists working in film and video today may not realize it, but the last forty years has seen a technological revolution in the materials of production, fostering many possibilities for experimentation. EXPERIMENTAL FILM AND VIDEO gathers key artists working in film, video and digital media to present a collection of philosophical reflections on the course of digital media and progress of narrative, performance, and theatre. A college-level, scholarly tone makes this the perfect guide for college collections strong in film media.
Diane C. Donovan
California Bookwatch
The best book ever published.......2006-08-27
At last a fantastic comprehensive review of artists work who have used the moving image. Recommended!
Average customer rating:
- 19th Century Film Studies!
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American Domesticity: From How-To Manual to Hollywood Melodrama
Kathleen Anne McHugh
Manufacturer: Oxford University Press, USA
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ASIN: 0195122615 |
Book Description
From the cult of domesticity to the Semiotics of the Kitchen, housekeeping has been central to both constructing and critiquing the role of women in American society. Frequently domesticity's style has been to make invisible the labor that produces it, allowing woman to be asserted or argued about in universal terms that downplay race, class, and material relations. American Domesticity considers this relationship in representations of domesticity and domestic labor over the last two centuries in didactic, cinematic, and feminist texts. While the domestic is usually conceived of as the antithesis of the public, economical, and political, Kathleen McHugh demonstrates how domestic discourse established the terms within which the most crucial national issues--the market economy, universal white male suffrage, slavery, the construction of racial difference, consumerism, spectatorship, desire, and even feminism--were conceived, assimilated, and understood. Beginning in the nineteenth century, the book investigates the historical roots of domestic labors invisibility in widely circulated didactic housekeeping manuals written by Lydia Child, Catherine Beecher, Mary Pattison, and Christine Frederick. It then considers how pedagogical discourses became entertainment discourses, their focus shifting from the silent era of film to the twilight of the classical period. The book concludes with an examination of the return of a pedagogical impulse within feminist film production concerning domesticity, comparing it to the concurrent rise of feminist film theory in the academy. Looking at this wide range of print and film texts, McHugh traces the outlines of a discourse of domesticity that claims to be private and universal but instead brokers difference within the public sphere.
Customer Reviews:
19th Century Film Studies!.......2000-06-02
This book examines the discourse on domestic labor across the 19th and 20th centuries, focusing on how-to manuals, classical Hollywood films, and more recent avant-garde works. The author provides an engaging, sophisticated and well-written history of how we have understood (or, more accurately, obscured) domestic labor as a key component of American national identity. By taking the 19th century into account, the author provides one of the more insightful analyses of American film melodrama and women's cinema. This book is crucial for anyone wanting to understand the role of gender in American modern culture and cinema.
Amazon.com
The second volume of Richard Abel's "history/anthology" of French film theory and criticism covers the period 1929-1939 and the transition from the silent to the sound film. In the years when Jean Renoir, René Clair, and Jean Vigo produced most of their masterpieces, the French debated intensely over the sociology and politics of the cinema as well as its use as a vehicle for fantasy and realism. Abel provides an overview of these debates in three probing and concise essays. He illustrates his analyses with excerpts from the writings of major French directors as well as authors like Jean Epstein, Marcel Pagnol, and Georges Sadoul.
Book Description
These two volumes examine a significant but previously neglected moment in French cultural history: the emergence of French film theory and criticism before the essays of Andre Bazin. Richard Abel has devised an organizational scheme of six nearly symmetrical periods that serve to "bite into" the discursive flow of early French writing on the cinema. Each of the periods is discussed in a separate and extensive historical introduction, with convincing explications of the various concepts current at the time. In each instance, Abel goes on to provide a complementary anthology of selected texts in translation. Amounting to a portable archive, these anthologies make available a rich selection of nearly one hundred and fifty important texts, most of them never before published in English.
Amazon.com
This first volume of what the author calls a "history/anthology" of French film theory and criticism covers the years 1907-1929. In these two decades, France produced some of the most extraordinary films of all time: Georges Mèliés, René Clair, and Abel Gance, director of Napoleon, were all in their heyday. In a series of essays interspersed with generous excerpts from his primary sources, Richard Abel demonstrates that these filmmakers, along with writers like Jean Cocteau, Antonin Artaud, and even Colette, engaged in fascinating critical debates about the meaning, the sociology, and the politics of their burgeoning national art. This is the only book in English to collect these writers' ideas on the movies. It is invaluable reading for anyone interested in the early history or modern theory of cinema.
Book Description
These two volumes examine a significant but previously neglected moment in French cultural history: the emergence of French film theory and criticism before the essays of Andre Bazin. Richard Abel has devised an organizational scheme of six nearly symmetrical periods that serve to "bite into" the discursive flow of early French writing on the cinema. Each of the periods is discussed in a separate and extensive historical introduction, with convincing explications of the various concepts current at the time. In each instance, Abel goes on to provide a complementary anthology of selected texts in translation. Amounting to a portable archive, these anthologies make available a rich selection of nearly one hundred and fifty important texts, most of them never before published in English.
Book Description
Ideal for school reading and workshop productions. Contains: Bellyfruit (Bernhard, Blinkoff and Borrus) * The Most Massive Women Wins (Madeline George) * Time Flies (David Ives) * Creative Development (Jacquelyn Reingold) * and more!
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Ancient Jewish Novels: An Anthology (AAR Cultural Criticism)
Lawrence M. Wills
Manufacturer: Oxford University Press, USA
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Collected Ancient Greek Novels
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The Jewish Novel in the Ancient World (Myth and Poetics)
ASIN: 0195151429 |
Book Description
This volume brings together for the first time all of the ancient Jewish novels and fragments of novels. Written at about the same time as the Dead Sea Scrolls and the New Testament, but before the period of Rabbinic Judaism, these texts reveal the ambiguities and conflicts encountered by Jews in this period.
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The American Poet at the Movies: A Critical History
Laurence Goldstein
Manufacturer: University of Michigan Press
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Binding: Hardcover
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ASIN: 0472105086 |
Book Description
The American Poet at the Movies: A Critical History presents a series of case studies that shows how poets perceived the new technology of cinema as a rival threatening to their prestige, but also as a sister art deserving of encouragement. Each chapter places a key poem at the center and takes up the issues arising from the engagement of these two art forms, such as the poets' mixed feelings about living in a national culture dominated by visual media. Whether it is Hart Crane writing on Chaplin, Delmore Schwartz on Marilyn Monroe, Frank O'Hara on James Dean, or Louise Erdrich on John Wayne, poets have made sense of their own time by reference to film icons and values shared by all Americans thanks to the dream factory, Hollywood.
As an increasingly popular genre of modern poetry, and one that permits a unique view of this century's dominant art form, the movie poem has needed an explanatory book like this one. As cinema and television continue to wield extraordinary influence over the lives of all Americans, the efforts of poets to understand the visual culture will come to be appreciated as central to the task of modern and postmodern literature. This critical history is an important and timely contribution to the study of American literature and American institutions.
"One of the impressive things about the book is that while pursuing the seemingly narrow category of poems-about-movies, Goldstein is able to raise and illuminate virtually all the key issues surrounding the poetry of the period." - Roger Gilbert, Cornell University
". . . a discerning book, combining criticism and social history. It satisfies scholarly standards while appealing to general readers." - Philip French, coeditor of the Faber Book of Movie Verse
"In this work, [Goldstein] provides a new way of looking at American poets, both familiar and neglected. The approach is chronological and thematic, and films are seen from black, gay, Jewish, and feminist as well as middle-class white perspectives." Library Journal
Laurence Goldstein is editor of the Michigan Quarterly Review and Professor of English, University of Michigan.
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