Nicos Dirty Moviequotebook
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|Author||: NICOTEXT,Fredrik Colting,Carl-Jordan Gadd,Stefan Sjölander|
|Editor||: Nicotext Limited|
All the saucy sayings of cinema! With over 700 saucy, sexy quotes from the funniest and most sordid films ever produced, this also includes a movie quiz game in a book. An excellent source of fresh pick-up or put-down lines, this titillating guide is sure to put anyone in the mood for love.
|Author||: Theresa Cheung|
|Editor||: HarperCollins UK|
Did you know that your birthday can give you surprising details about your personality profile, your ideal partner, and your dark side? The Element Encyclopedia of Birthdays combines astrology, psychology, numerology and tarot for practical advice on how to make the best of yourself and shape your future.
|Author||: Aubrey Malone|
Censorship has been an ongoing issue from the early days of filmmaking. One hundred years of film censorship, encompassing the entire 20th century, are chronicled in this work. The freewheeling nature of films in the early decades was profoundly affected by Prohibition, the Depression and the formation of the Legion of Decency—culminating in a new age of restrictiveness in the movies. Such powerful arbiters of public taste as Will H. Hays of the Motion Picture Producers and Distributors of America and Joseph Breen of the Production Code Association fomented an era whereby films with contentious material were severely censored or even condemned. This held sway until rebellious filmmakers like Otto Preminger challenged the system in the 1950s, eventually resulting in the abandonment of the old regime in favor of the contemporary “G” through “NC–17” ratings system.
|Author||: Tom Lamarr|
|Editor||: Marcinson Press|
They thought it was about time to have a kid. No big deal. Until it was. Then, their lives went from fooling around to hormone shots, test tubes, embarrassing doctor visits, and more. But there's no sad, mopey story here. Tom handles the journey to fatherhood like he handles the rest of life - with enough humor to make even the most stoic wanna-be-dad laugh with recognition. Follow this funny father on his quest to become the one thing that eluded him: becoming the someone she calls "Daddy."
|Author||: Jenny Rees|
|Editor||: Transaction Publishers|
Goronwy Rees (1909-1979) was one of the most gifted and promising figures in the constellation of British poets, journalists, and intellectuals of the 1930s that included Louis MacNeice, W. H., Auden, C. Day Lewis, Isaiah Berlin, and Anthony Blunt. Like many liberals of his generation, he was shocked by the effects of the Depression and correspondingly sympathetic to the Communist regime in Russia. Guy Burgess, of the Cambridge spies--Burgess, Maclean, Philby, and Blunt, admitted his espionage to Rees. His association with Burgess was to blight the rest of Rees's life. When Burgess defected in 1951, and Rees denounced him to MI5, Rees was viewed more as a spy out to save his own skin than as an honorable citizen. His anonymous, sensationalist articles in The People, denouncing Burgess's political activities and all but naming names, condemned him with the British intellectual community--not for his politics but for his betrayal of a friend. Colleagues and acquaintances accused him of trying to initiate a McCarthyite witch-hunt. He lost his job. His academic career was ruined. In Looking for Mr. Nobody, Jenny Rees deals with many of the old charges made against her father in her search for the answer to her own question, "Was he, too, a spy?" Had he joined up with Burgess and Blunt and passed secrets to the Soviet Union? Her quest for the truth reveals a fascinating portrait of a brilliant but flawed man of letters, handsome and seductively charming, caught up in the radical, political commitments of the 1930s, Communist Party membership, and his tortured relationship with the notorious Cambridge spies. In a straightforward unsentimental manner, the author reviews the main aspects of Rees's career, professional affiliations, his conflict with academic enemies, and his anti-Communist writings for Encounter after the war. While Fleet Street continued to denounce Rees as a suspected Soviet agent, his daughter went to the only place that could give his ghost rest, to the files of the KGB in Moscow. There she found proof that, as his friends had always believed, he had never been recruited by the KGB, and whatever intelligence links he may have had with Burgess were severed in 1939. Jenny Rees's book reads like a parable of the Cold War. It provides additional insight into the troubled decade of the 1930s and will be of interest to students of politics and the Cold War, social history, and the general reader concerned with moral and intellectual dilemmas of modern times. The introductory essay by Diana Trilling places this riveting story in the context of place and time. Jenny Rees, Goronwy Rees's eldest child, has been a newspaper journalist for most of her working life. She has been a reporter and feature writer for the Daily Mail, the Daily Express, and the Daily Telegraph.
|Author||: Patrick McGilligan|
|Editor||: U of Minnesota Press|
The name of Fritz Lang—the visionary director of Metropolis, M, Fury, The Big Heat, and thirty other unforgettable films—is hallowed the world over. But what lurks behind his greatest legends and his genius as a filmmaker? Patrick McGilligan, placed among “the front rank of film biographers” by the Washington Post, spent four years in Europe and America interviewing Lang’s dying contemporaries, researching government and film archives, and investigating the intriguing life story of Fritz Lang. This critically acclaimed biography—lauded as one of the year’s best nonfiction books by Publishers Weekly—reconstructs the compelling, flawed human being behind the monster with the monocle.
|Author||: Barry Keith Grant|
|Editor||: Rutgers University Press|
The profound cultural and political changes of the 1960s brought the United States closer to social revolution than at any other time in the twentieth century. The country fragmented as various challenges to state power were met with increasing and violent resistance. The Cold War heated up and the Vietnam War divided Americans. Civil rights, women's liberation, and gay rights further emerged as significant social issues. Free love was celebrated even as the decade was marked by assassinations, mass murders, and social unrest. At the same time, American cinema underwent radical change as well. The studio system crumbled, and the Production Code was replaced by a new ratings system. Among the challenges faced by the film industry was the dawning shift in theatrical exhibition from urban centers to surburban multiplexes, an increase in runaway productions, the rise of independent producers, and competition from both television and foreign art films. Hollywood movies became more cynical, violent, and sexually explicit, reflecting the changing values of the time. In ten original essays, American Cinema of the 1960s examines a range of films that characterized the decade, including Hollywood movies, documentaries, and independent and experimental films. Among the films discussed are Elmer Gantry, The Apartment, West Side Story, The Manchurian Candidate, To Kill a Mockingbird, Cape Fear, Bonnie and Clyde, 2001: A Space Odyssey, Midnight Cowboy, and Easy Rider.
|Author||: Ilarion (Hieromonk.)|
|Editor||: St Vladimirs Seminary Press|
This in-depth study on the realm of death presents a message of hope held by the first generation of Christians and the early church. Using Scripture, patristic tradition, early Christian poetry, and liturgical texts, Archbishop Hilarion explores the mysterious and enigmatic event of Christs descent into Hades and its consequences for the human race. Insisting that Christ entered Sheol as Conqueror and not as victim, the author depicts the Lords descent as an event of cosmic significance opening the path to universal salvation. He also reveals Hades as a place of divine presence, a place where the spiritual fate of a person may still change. Reminding readers that self-will remains the only hindrance to life in Christ, he presents the gospel message anew, even in the shadow of death.
|Author||: Stephen Prince|
|Editor||: Rutgers University Press|
Stephen Prince has written the first book to examine the interplay between the aesthetics and the censorship of violence in classic Hollywood films from 1930 to 1968, the era of the Production Code, when filmmakers were required to have their scripts approved before they could start production. He explains how Hollywood's filmmakers designed violence in response to the regulations of the Production Code and regional censors. Graphic violence in today's movies actually has its roots in these early films. Hollywood's filmmakers were drawn to violent scenes and "pushed the envelope" of what they could depict by manipulating the Production Code Administration (PCA). Prince shows that many choices about camera position, editing, and blocking of the action and sound were functional responses by filmmakers to regulatory constraints, necessary for approval from the PCA and then in surviving scrutiny by state and municipal censor boards. This book is the first stylistic history of American screen violence that is grounded in industry documentation. Using PCA files, Prince traces the negotiations over violence carried out by filmmakers and officials and shows how the outcome left its traces on picture and sound in the films. Almost everything revealed by this research is contrary to what most have believed about Hollywood and film violence. With chapters such as "Throwing the Extra Punch" and "Cruelty, Sadism, and the Horror Film," this book will become the defining work on classical film violence and its connection to the graphic mayhem of today's movies.
|Author||: James F. Masterson, M.D.|
Published in 1988, Psychotherapy Of The Borderline Adult is a valuable contribution to the field of Psychotherapy.
Peterson's How to Get Money for College 2019 is a great resource for students looking to supplement their federal financial aid package with aid from colleges and universities. This comprehensive directory points students and their families to complete and accurate information on need-based and non-need gift aid, loans, work-study, athletic awards, and more. The easy-to-use Colleges-at-a-Glance comparison chart, organized by state, lists the full costs that can be expected, aid packages, and more at over 2,400 four-year colleges and universities. Profiles of more than 2,400 schools' financial aid awards, including types of aid, percentages of students applying for and receiving aid, and average aid packages Unique Colleges-at-a-Glance Cost Chart for easy comparison of costs, aid packages, graduates' average indebtedness, and more-found in no other guides Comprehensive overview of the financial aid process, common financial aid questions, samples of financial aid award letters, the latest changes to the FAFSA® and how to file it, and how to complete the CSS/Financial Aid PROFILE® that's required by most private colleges and universities State-by-state listing of state-funded scholarship and grant programs Indexes include Non-Need Scholarships for Undergraduates, Athletic Grants for Undergraduates, Co-op Programs, ROTC Programs, Tuitions Waivers, and Tuition Payment Plans
|Author||: Roger Ebert|
|Editor||: Andrews McMeel Publishing|
Roger Ebert awards at least two out of four stars to most of the more than 150 movies he reviews each year. But when the noted film critic does pan a movie, the result is a humorous, scathing critique far more entertaining than the movie itself. I Hated, Hated, Hated This Movie is a collection of more than 200 of Ebert's most biting and entertaining reviews of films receiving a mere star or less from the only film critic to win the Pulitzer Prize. Ebert has no patience for these atrocious movies and minces no words in skewering the offenders. Witness: Armageddon * (1998) --The movie is an assault on the eyes, the ears, the brain, common sense, and the human desire to be entertained. No matter what they're charging to get in, it's worth more to get out. The Beverly Hillbillies* (1993)--Imagine the dumbest half-hour sitcom you've ever seen, spin it out to ninety-three minutes by making it even more thin and shallow, and you have this movie. It's appalling. North no stars (1994)--I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it. Police Academy no stars (1984)--It's so bad, maybe you should pool your money and draw straws and send one of the guys off to rent it so that in the future, whenever you think you're sitting through a bad comedy, he could shake his head, chuckle tolerantly, and explain that you don't know what bad is. Dear God * (1996)--Dear God is the kind of movie where you walk out repeating the title, but not with a smile. The movies reviewed within I Hated, Hated, Hated This Movie are motion pictures you'll want to distance yourself from, but Roger Ebert's creative and comical musings on those films make for a book no movie fan should miss.
|Author||: Judith B. Hecker,William Kentridge,Museum of Modern Art (New York, N.Y.)|
|Editor||: The Museum of Modern Art|
This visually compelling publication highlights The Museum of Modern Art's unparalleled collection of prints and books byWilliam Kentridge - nearly fifty works spanning the past three decades. The book also features a succession of artistic interventions made by Kentridge especially for the occasion. Kentridge's practice brings together drawing, film animation, books, sculpture and performance. Too little known is the extent to which the artist applies his astonishing draftsmanship to the techniques of printmaking, including etching, screenprinting, lithography and linoleum cut. In fact printmaking has always been essential to his work, from his first forays into visual art in the 1970s to his recent large-scale operas. Kentridge's love of the printed image extends to an embrace of books. He often draws and prints on unbound pages from encyclopaedias, ledgers and the like, the readymade support adding nuance and complexity to his work. He has extended these practices in William Kentridge: Trace, using translucent pages interspersed throughout the book to respond to his prints reproduced between them in a visual dialogue between the past and the present. The book also includes an essay, an annotated checklist, a chronology and the text of a lecture by Kentridge on printmaking, illuminating its relevance to his broader practice. The publication coincides with the Museum's presentation of the touring exhibition William Kentridge: Five Themes. MoMA's presentation will be unique in its addition to the numerous collection works, including most of the prints reproduced in this volume.
|Author||: Andrew McFarlane|
|Editor||: Bloomsbury Publishing|
Specifically designed for use in court Hershman & McFarlane Children Act Handbook 2017/18 provides a portable, single volume source of key children proceedings legislation and related guidance. It includes consolidated and fully amended texts of the Children Act 1989 and relevant provisions of the Family Procedure Rules 2010 and supplementary Practice Directions.
|Author||: Constantine Nasr|
|Editor||: Univ. Press of Mississippi|
Roger Corman (b. 1926) is known by many names-craftsman, artist, maverick, schlock-meister, mini-mogul, mentor, cheapskate, and King of the B’s. Yet his commitment to filmmaking remains inspired. He learned his craft at the end of the studio system, only to rebel against Hollywood and define himself as the true independent. And the list of directors and producers who learned under his tutelage—Francis Ford Coppola, Martin Scorsese, James Cameron, Jonathan Demme, and many more—is astonishing. Collected here are many of the most honest and revealing interviews of his epic career, several of which have never been seen in print. Roger Corman: Interviews brings into focus a life committed to the entertaining art of motion pictures. Corman’s rare talent combined artistic drive with business savvy, ensuring a successful career that was constantly in motion. At a remarkable pace more akin to silent movies than modern Hollywood, he directed over fifty films in less than fifteen years, some entertaining (Not of This Earth), trendsetting (The Wild Angels), daring (The Intruder), workmanlike (Apache Woman), stylized (The Masque of the Red Death) and even profound (X: The Man with the X-Ray Eyes). In a single year, Corman famously shot a cult classic in two and a half days (The Little Shop of Horrors), reinvigorated the American horror film with a dash of Poe and Price (House of Usher)—and still turned out a few more films shot across the globe. Recently awarded an honorary Oscar for his lifetime contribution to cinema, the self-made Corman has created a legacy as a defining filmmaker.
|Author||: Alexander Horwath,Thomas Elsaesser,Noel King|
|Editor||: Amsterdam University Press|
This publication is a major evaluation of the 1970s American cinema, including cult film directors such as Bogdanovich Altman and Peckinpah.