vernon gras (42 resultados)

Soft cover. Condición: Very Good. First Softcover Edition. Softcover book is a clean unmarked copy.

Condición: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condición: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Soft cover. Condición: Very Good. Clean copy with no marks. Tight binding with no crease on spine. Some corner wear.

paperback. Condición: Good. Good paperback, bumped/creased with shelfwear; may have previous owner's name inside. Standard-sized.

Condición: As New. Unread book in perfect condition.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Clean from markings. In good all round condition. Dust jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,700grams, ISBN:9780333800287.

Paperback. Condición: Very Good +. Unamrked save for Malcolm Bradbury's ex libris label.

Condición: New.

Paperback. Condición: New. In these twenty-one interviews, filmmaker Peter Greenaway expresses his film aesthetic and discusses his combat with the dominant Hollywood style of filmmaking. His films have run unmistakably against the main current of present cinematic practice, from the short film Windows in the mid-seventies, to his more popular but nonetheless challenging films such as A Zed and Two Noughts and The Pillow Book in the nineties. In this collection the ever-controversial Greenaway discusses his philosophies of film, art, aesthetics, literature, and reality, criticizing and even condemning the standard fare of what he calls Hollywood cinema. For him such films tell stories or they translate literature with its linear narrative onto a medium that he feels should be preeminently visual. He finds that, instead of foregrounding the image and the composition of visual elements as in the long history of painting, Hollywood-style directors seem mesmerized by the ""and then and then"" narrative. In these provocative interviews Greenaway tells of his ambition to make cinema a medium based more on image than on narrative. He explains his painterly approach in such films as Prospero's Books and The Cook, the Thief, His Wife, and Her Lover, defends his use of total nudity of both sexes, and declares that traditional literary-based cinema is dead. He believes that the most creative imaginations, the most innovative technologies, and the greatest financial resources are being devoted to television and the Internet and that Hollywood moviemaking is no longer in the vanguard. ""If you go into the basilica of St. Peter in Rome,"" he says, ""and sit through a service near the high altar of Bernini, you will experience a synthesis of stone, light, music, incense. It is a form of total art, which is what the cinema of the 20th century was supposed to be, even if it only rarely lives up to this ideal."" Vernon Gras is a professor of English and cultural studies at George Mason University. Marguerite Gras was a legislative research staffer at the U.S. House of Representatives, 1974-1991.

Hardcover. Condición: Very Good+. Estado de la sobrecubierta: Very Good. Text clean and tight; light wear and tear to dust jacket; 9.60 X 6.42 X 1.07 inches; 304 pages.

Paperback. Condición: New. In these twenty-one interviews, filmmaker Peter Greenaway expresses his film aesthetic and discusses his combat with the dominant Hollywood style of filmmaking. His films have run unmistakably against the main current of present cinematic practice, from the short film Windows in the mid-seventies, to his more popular but nonetheless challenging films such as A Zed and Two Noughts and The Pillow Book in the nineties. In this collection the ever-controversial Greenaway discusses his philosophies of film, art, aesthetics, literature, and reality, criticizing and even condemning the standard fare of what he calls Hollywood cinema. For him such films tell stories or they translate literature with its linear narrative onto a medium that he feels should be preeminently visual. He finds that, instead of foregrounding the image and the composition of visual elements as in the long history of painting, Hollywood-style directors seem mesmerized by the ""and then and then"" narrative. In these provocative interviews Greenaway tells of his ambition to make cinema a medium based more on image than on narrative. He explains his painterly approach in such films as Prospero's Books and The Cook, the Thief, His Wife, and Her Lover, defends his use of total nudity of both sexes, and declares that traditional literary-based cinema is dead. He believes that the most creative imaginations, the most innovative technologies, and the greatest financial resources are being devoted to television and the Internet and that Hollywood moviemaking is no longer in the vanguard. ""If you go into the basilica of St. Peter in Rome,"" he says, ""and sit through a service near the high altar of Bernini, you will experience a synthesis of stone, light, music, incense. It is a form of total art, which is what the cinema of the 20th century was supposed to be, even if it only rarely lives up to this ideal."" Vernon Gras is a professor of English and cultural studies at George Mason University. Marguerite Gras was a legislative research staffer at the U.S. House of Representatives, 1974-1991.

Softcover. glossy blue & bw illustrated wraps w/ black printing. 200 pgs. Remains a nice, sharp and bright copy. "In these twenty-one interviews, filmmaker Peter Greenaway expresses his film aesthetic and discusses his combat with the dominant Hollywood style of filmmaking. His films have run unmistakably against the main current of present cinematic practice, from the short film Windows in the mid-seventies, to his more popular but nonetheless challenging films such as A Zed and Two Noughts and The Pillow Book in the nineties. In this collection the ever-controversial Greenaway discusses his philosophies of film, art, aesthetics, literature, and reality, criticizing and even condemning the standard fare of what he calls Hollywood cinema. For him, such films tell stories or they translate literature with its linear narrative onto a medium that he feels should be preeminently visual. He finds that, instead of foregrounding the image and the composition of visual elements as in the long history of painting, Hollywood-style directors seem mesmerized by the "and then and then" narrative. In these provocative interviews, Greenaway tells of his ambition to make cinema a medium based more on image than on narrative. He explains his painterly approach in such films as Prospero's Books and The Cook, the Thief, His Wife, and Her Lover, defends his use of total nudity of both sexes, and declares that traditional literary-based cinema is dead. He believes that the most creative imaginations, the most innovative technologies, and the greatest financial resources are being devoted to television and the Internet and that Hollywood moviemaking is no longer in the vanguard."--Amazon. VG (scuffs, scratches to wraps; rubbed edge-wear. creasing to spine top. light rubbing to corners. remains tightly bound).

Condición: New. In.

Paperback. Condición: Very Good. First Edition. First Edition, First Printing. Published by Delta, 1973. Octavo. Paperback. Book is very good with shelf wear and price blacked out on front cover. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Sag Harbor, New York.

Condición: New.

Condición: As New. Unread book in perfect condition.

Soft cover. Condición: Very Good. 1st Edition. 12mo - over 6¾ - 7¾" tall. Soft cover. 368 pp. Toning to covers (worse at extremities), staining to tail edge of rear cover. Remainder mark to tail edge. Interior slightly age toned. With contributions from Ludwig Binswanger, Jorges Luis Borges, Martin Heidegger, Claude Levi-Strauss, Jean-Paul Sartre, and others.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: As New. Hardcover and dust jacket. Good binding and cover. Minor shelf wear. Small tears to jacket. Clean, unmarked pages. xvi, 279 p. : ill. ; 25 cm. "Dennis Potter was a most remarkable, idiosyncratic, and influential screen playwright, writing such shows as 'The Singing Detective' and 'Pennies From Heaven' for British TV during the last half of the 20th century. In dramatizing the anxiety of his own inner journey, he articulated for the millions watching his shows their own distresses about the fast-changing cultural environment. The Passion of Dennis Potter represents the first collection of international essays on this celebrated playwright. Along with essays from the world s leading scholars and experts on Potter, there are personal memoirs from friends and colleagues who knew and worked with him. The result is an impressive collection which expertly dissects the themes and oeuvre of one of the major contemporary figures of British drama and literature, tracing his changing class, religious, and personal values from his debut in 1965 right up to his death from cancer in 1994." - Palgrave Macmillan.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Clean from markings. In good all round condition. Dust jacket in fair condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,700grams, ISBN:9780333800287.

Paperback. Condición: Brand New. illustrated edition. 200 pages. 9.00x6.00x0.75 inches. In Stock.

Condición: New.

Condición: New. pp. 304.

Condición: New.

paperback. Condición: New. In shrink wrap. Looks like an interesting title!

Paperback. Condición: New. In these twenty-one interviews, filmmaker Peter Greenaway expresses his film aesthetic and discusses his combat with the dominant Hollywood style of filmmaking. His films have run unmistakably against the main current of present cinematic practice, from the short film Windows in the mid-seventies, to his more popular but nonetheless challenging films such as A Zed and Two Noughts and The Pillow Book in the nineties. In this collection the ever-controversial Greenaway discusses his philosophies of film, art, aesthetics, literature, and reality, criticizing and even condemning the standard fare of what he calls Hollywood cinema. For him such films tell stories or they translate literature with its linear narrative onto a medium that he feels should be preeminently visual. He finds that, instead of foregrounding the image and the composition of visual elements as in the long history of painting, Hollywood-style directors seem mesmerized by the ""and then and then"" narrative. In these provocative interviews Greenaway tells of his ambition to make cinema a medium based more on image than on narrative. He explains his painterly approach in such films as Prospero's Books and The Cook, the Thief, His Wife, and Her Lover, defends his use of total nudity of both sexes, and declares that traditional literary-based cinema is dead. He believes that the most creative imaginations, the most innovative technologies, and the greatest financial resources are being devoted to television and the Internet and that Hollywood moviemaking is no longer in the vanguard. ""If you go into the basilica of St. Peter in Rome,"" he says, ""and sit through a service near the high altar of Bernini, you will experience a synthesis of stone, light, music, incense. It is a form of total art, which is what the cinema of the 20th century was supposed to be, even if it only rarely lives up to this ideal."" Vernon Gras is a professor of English and cultural studies at George Mason University. Marguerite Gras was a legislative research staffer at the U.S. House of Representatives, 1974-1991.

Hardcover. Condición: Brand New. 279 pages. 9.50x6.25x1.00 inches. In Stock.

Condición: As New. Unread book in perfect condition.

Paperback. Condición: New. In these twenty-one interviews, filmmaker Peter Greenaway expresses his film aesthetic and discusses his combat with the dominant Hollywood style of filmmaking. His films have run unmistakably against the main current of present cinematic practice, from the short film Windows in the mid-seventies, to his more popular but nonetheless challenging films such as A Zed and Two Noughts and The Pillow Book in the nineties. In this collection the ever-controversial Greenaway discusses his philosophies of film, art, aesthetics, literature, and reality, criticizing and even condemning the standard fare of what he calls Hollywood cinema. For him such films tell stories or they translate literature with its linear narrative onto a medium that he feels should be preeminently visual. He finds that, instead of foregrounding the image and the composition of visual elements as in the long history of painting, Hollywood-style directors seem mesmerized by the ""and then and then"" narrative. In these provocative interviews Greenaway tells of his ambition to make cinema a medium based more on image than on narrative. He explains his painterly approach in such films as Prospero's Books and The Cook, the Thief, His Wife, and Her Lover, defends his use of total nudity of both sexes, and declares that traditional literary-based cinema is dead. He believes that the most creative imaginations, the most innovative technologies, and the greatest financial resources are being devoted to television and the Internet and that Hollywood moviemaking is no longer in the vanguard. ""If you go into the basilica of St. Peter in Rome,"" he says, ""and sit through a service near the high altar of Bernini, you will experience a synthesis of stone, light, music, incense. It is a form of total art, which is what the cinema of the 20th century was supposed to be, even if it only rarely lives up to this ideal."" Vernon Gras is a professor of English and cultural studies at George Mason University. Marguerite Gras was a legislative research staffer at the U.S. House of Representatives, 1974-1991.