For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    The collection takes us from England to Asia with stops in Australia and the United States and it proves the point that disgusting old people are to be found just about everywhere. We enter the troubled minds of murderers, bank robbers, practical jokers, serial killers, perverts and just regular old liars all of whom are old enough to know better. You'll doubtless recognize people you know and be forced to admit to a few wiles of your own.

    a visionary work that bridges the history and culture of two worlds."--Frank Rich, New York TimesBased on a true story that stunned the world, and inspired by Giacomo Puccini's opera Madama Butterfly, M. Butterfly was an immediate sensation when it premiered in 1988. It opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government--and by his own illusions. He recalls a time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive--and as elusive--as a butterfly.How could he have known that his true love was, in fact, a spy for the Chinese government--and a man disguised as a woman? The diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both.M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.The original cast included John Lithgow as Gallimard and BD Wong as Song Liling. During the show's 777-performance run, David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein were also cast as Gallimard. Hwang adapted the play for a 1993 film directed by David Cronenberg, starring Jeremy Irons and John Lone.TEXT OF THE BROADWAY REVIVAL

    Divided into three sections, Part One deals with the work of S.M. Eisenstein, both as a director and theorist of his art. Part two concerns the auteur theory and investigates the recurrence of themes and images throughout a director's career. Part three shows how the study of cinema can be considered a province of the general study of signs. Throughout this richly illustrated book the relationship of the cinema to the other arts is kept constantly before the reader. This new edition includes a retrospective chapter by the author.

    First serial to Esquire.

    Wong is a feng shui consultant, but his cases tend to involve a lot more than just interior decoration. You see, Wong specializes in a certain type of problem premises: crime scenes. He and his brash teenage Aussie-American ex-pat intern (think an Asian Sherlock Holmes paired up with Kelly Osbourne) travel around Singapore solving crimes while trying to decipher each other's language and behavior. His latest case involves a mysterious young woman who, according to a psychic reading, is doomed to die. Wong's desperate efforts to save her eventually lead him and his sidekick to Sydney where the story climaxes at the Opera House, a building known for its appalling feng shui. A delightful combination of crafty plotting, quirky humor, and Asian philosophy, the Feng Shui Detective is an investigator like no other!

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    In three different lives in three vastly different time periods, one man, Thomas, Tommy, Tom, is desperate to beat death and to prolong the life of the woman he loves.

    It was in their steep Himalayan villages that McHugh came to know another culture, witnessing and learning the Buddhist appreciation for equanimity in moments of precious joy and inevitable sorrow.Love and Honor in the Himalayas is McHugh's gripping ethnographic memoir based on research among the Gurungs conducted over a span of fourteen years. As she chronicles the events of her fieldwork, she also tells a story that admits feeling and involvement, writing of the people who housed her in the terms in which they cast their relationship with her, that of family. Welcomed to call her host Ama and become a daughter in the household, McHugh engaged in a strong network of kin and friendship. She intimately describes, with a sure sense of comedy and pathos, the family's diverse experiences of life and loss, self and personhood, hope, knowledge, and affection. In mundane as well as dramatic rituals, the Gurungs ever emphasize the importance of love and honor in everyday life, regardless of circumstances, in all human relationships. Such was the lesson learned by McHugh, who arrived a young woman facing her own hardships and came to understand--and experience--the power of their ways of being.While it attends to a particular place and its inhabitants, Love and Honor in the Himalayas is, above all, about human possibility, about what people make of their lives. Through the compelling force of her narrative, McHugh lets her emotionally open fieldwork reveal insight into the privilege of joining a community and a culture. It is an invitation to sustain grace and kindness in the face of adversity, cultivate harmony and mutual support, and cherish life fully.

    Scribble grammar has no neighbor. In the name of reason I need to record something because I am a survivor in this ocean.

    Parker has talked tomany of those closely invloved in the scene and has uncovered many previously undisclosed - and often outrageous facts about Rollins' life.

    In Poetics of Cinema, Ruiz takes a fresh approach to the major themes haunting our audio-visual civilization: the filmic unconscious, questions of utopia, the inter-contamination of images, the art of the copy, the relations between artistic practices and institutions. Based on a series of lectures given recently at Duke University in North Carolina, Poetics of Cinema develops an acerbically witty critique of the reigning codes of cinematographic narration, principally derived from the dramatic theories set forth by Aristotle's Poetics and characterized by Ruiz as the -central-conflict theory.- Ruiz's impressive knowledge of theology, philosophy, literature and the visual arts never outstrips his powerful imagination. Poetics of Cinema not only offers a singularly pertinent analysis of the seventh art, but also shows us an entirely new way of writing and thinking about images.

    Here at last, in one spellbinding volume, are four million words of it. For more than forty years, from his sixteenth birthday until the eve of his unexpected death in 1988, the beloved actor and outrageous 'Carry On' star Kenneth Williams kept a candid diary. Devastatingly honest about himself, he is equally unsparing in his verdicts on his fellow man. In his descriptions of Tony Hancock, Maggie Smith, Joe Orton and countless others, his waspish sense of humour, love of anecdote and ear for dialogue are given full rein. Malicious, hilarious and harrowing, 'The Kenneth Williams Diaries' are a unique portrait of one of Britain's most popular - and most misunderstood - performers.

    Few are so angelically androgynous and masculine in the same breath. From teen hearth-throb to an accomplished actor who has worked with art house directors such as Emir Kusturica, Terry Gilliam, Roman Polanski, Jim Jarmusch, and John Waters, Depp has built himself wildly successful and unconventional career. Movie Icons is a series of photo books that feature the most famous personalities in the history of cinema. These 192-page books are visual biographies of the stars.

    In this provocative and stimulating book critically acclaimed author Will Hutton warns instead that China is running up against a set of daunting challenges from within its own political and economic system that could well derail its rise, leading to a massive shock to the global economy. The United States, he argues, must recognize that it has a vital stake in working to assure this doesn't happen, for if China's political liberalization and economic growth collapse, the United States will suffer crippling consequences.In today's highly globalized world economy, so much of the economic health of the United States -- our low inflation, high profits, and cheap credit -- rests upon China's economic growth and its massive investment in the United States. A great deal has been said about the economic and military threat China poses. But rather than provoking China with the military hawkishness of recent years and resisting Chinese economic supremacy with the saber rattling of protectionist antitrade policies -- twenty such bills have been introduced in Congress in just the last year -- the United States must build a strong relationship that will foster China's transition from an antiquated Communist state beset with profound problems to a fully modern, enlightened, and open society. Doing so will require understanding and engagement, not enmity and suspicion.China's current economic model, Hutton explains, is unsustainable, premised as it is on the myriad contradictions and dysfunctions of an authoritarian state attempting to control an economy in its transition to capitalism. If the twenty-first century is to be the China century, the Chinese will have to embrace the features of modern Western nations that have spurred the political stability and economic power of the United States and Europe: the rule of law, an independent judiciary, freedom of the press, and authentic representative government that is accountable to the people. Whether or not China does so rests in large part on how well the United States manages the relationship and persuades the Chinese of the virtues of an open, enlightened democratic system. The danger is that fearmongering will intensify animosities, leading both countries down a path of peril.Turning conventional wisdom on its head, this brilliantly argued book is vital reading at a crucial juncture in world affairs.