Yet perhaps no one knew her better than one of her closest confidantes, Marie Therese, the Princess de Lamballe. The Princess became superintendent of the Queen s household in 1774, and through her relationship with Marie Antoinette, a unique perspective of the lavishness and daily intrigue at Versailles is exposed.Born into the famous House of Savoy in Turin, Italy, Marie Therese was married at the age of seventeen to the Prince de Lamballe; heir to one of the richest fortunes in France. He transported her to the gold-leafed and glittering chandeliered halls of the Chateau de Versailles, where she soon found herself immersed in the political and sexual scandals that surrounded the royal court. As the plotters and planners of Versailles sought, at all costs, to gain the favor of Louis XVI and his Queen, the Princess de Lamballe was there to witness it all.This book reveals the Princess de Lamballe s version of these events and is based on a wide variety of historical sources, helping to capture the waning days and grisly demise of the French monarchy. The story immerses you in a world of titillating sexual rumors, bloodthirsty revolutionaries, and hair-raising escape attempts and is a must read for anyone interested in Marie Antoinette, the origins of the French Revolution, or life in the late 18th Century."

    Professor Quatermass and his team from the British Experimental Rocket Group wait anxiously for the crew to emerge. But only man is left aboard - a man too shocked to tell what happened to his colleagues. It is thebeginning of a reign of terror which will hold London in its merciless grip - and threaten the entire world!

    Although her career was brief, she lit up the screen in films like High Society, Rear Window, and The Country Girl, for which she won an Oscar. She was not only a fine actress, great beauty, and icon of American style, but she was also a passionate philanthropist, known for her generosity and kindness. Published on the 25th anniversary of her death, Grace Kelly: A Life in Pictures is the definitive photographic portrait—160 images capturing the early years, film career, royal marriage, and private life of this remarkable woman.

    NEW, edited and updated version. (Formatting, spelling and grammar corrections made, plus some new material added) Please note, this is a politically incorrect story. It bashes the current administration. Irony is winning the Powerball lottery six months before the world's economies meltdown. The Shelter tells the story of a family who wins $27 million in the lottery, they pull roots and move to Nashville where they buy a large home bordered by three farms. With the money in hand the world's economies in the process of melting down. They 'buy the farm.' They purchase the three farms and the 7,000 square foot house. The farms are able to provide food when the economies collapse. The house is large enough to hold all of their extended family. To ensure their survival, Jay decides to build a large shelter under the farmland. Jay befriends the local Mafia 'Don', Tony, who helps him in exchange for a ticket in the shelter. Book one tells the story of Jay and Lacy, winning the lottery, their move to Nashville, buying the farms and building the shelter while the world goes to hell around them. The world starts to melt down when the people of Greece elect a new Prime Minister, who defaults on their loans to Germany. The EU falls apart when the other European Nations follow Greece's lead. China demands payment of its debt from America or the state of Hawaii. The President increases taxes to raise the $1.4 trillion needed to pay China back, putting enormous stress on the American economy. Russia adds gasoline to the fire by dumping their dollars. Russia helps destabilize the EU so they can invade by offering humanitarian aid. When the American economy collapses, distribution of food stops, starvation becomes a real problem. The cities explode in violence due to the lack of food and clean water. As the insanity spreads, Jay builds a shelter complex to house over 40 people for more than a year without surfacing. A shelter, he thinks, is an insurance policy, one he hopes he'll never have to use. A shelter complex he and his neighbors, need in order to survive an invasion of their farms. All of their winnings are worthless when the only real currency is a loaf of bread and a bottle of clean water. There's a special sneak preview of my next book, "In the Year 2050. America's Religious Civil War" included at the end of the "The Shelter."

    

    Everyone was cheerful, but I was reminded of the one thing that I didn’t have, family. I had more than enough of everything, except the one thing that mattered during the holidays. All of that changed though, when I met Cara. She was smart-mouthed and not afraid to tell me exactly what was on her mind. Paired with an incredible body and eyes that called to me, she was just what I was looking for. Before I even knew I was looking. Our kisses were electric and I wanted more. Cara was reluctant at first, because of our professional relationship. But nothing was off limits to a guy like me. I am Nick Sampson; Billionaire business man and the biggest playboy in the city. I always get what I want. This year, all I want for Christmas is Cara. CHRISTMAS PRESENT She was a present that I was dying to open. Watching my friend fall for his wife was hard to see. They were so happy. It made me realize that something was missing. The women in my life were just temporary and I was looking for something more concrete. But finding that special one was hard. Then I met Celia and all of that changed. Her smile was soft and her mouth was sassy. She was everything that I was looking for in a woman. I just had to convince her that I wasn’t the man she thought I was. She was my Christmas Present from the universe and I wasn’t going to mess it up this time. I had to make her fall for me and all I needed was one chance to get my hands on her. I was going to make her scream until she was hoarse. Then there would be no running. She was going to be mine. But she did leave and I was going to need a Christmas miracle to get her back. Celia would be mine once more, wrapped up with a bow.

    Caligari" to Richard Shickel on the cult of Greta Garbo.

    Coincidentally it was the story of a legendary self-destructive director who returns to Hollywood from years of self-imposed exile in Europe. Welles swore it wasn’t autobiographical.The Other Side of the Wind was supposed to take place during a single day, and Welles planned to shoot it in eight weeks. It took twelve years and remains unreleased and largely unseen. The Last Movie is a fast-paced, behind-the-scenes account of the bizarre, hilarious and remarkable making of what has been called "the greatest home movie that no one has ever seen." Funded by the Shah of Iran’s brother-in-law, and based on a script that Welles rewrote every night for years, a final attempt to one-up his own best-work. It’s almost impossible to tell if art is imitating life or vice versa in the film. It’s a production best encompassed by its star, John Huston, who described the making of the film as "an adventure shared by desperate men that finally came to nothing."

    Relates the life of the secretly gay Hollywood director who guided to stardom such legendary actresses as Garbo, Bergman, Garland, and Hepburn.

    He has pursued his revolution in works ranging from the explosive Breathless to the eloquent Contempt to the controversial Hail Mary and the postmodern Histoire(s) du cinema, shaking up conventional formulas with boldly innovative approaches to every aspect of cinema and video - including film criticism via provocative essays in Cahiers du Cinema and interviews dating to the early years of his career. This book presents a varied selection of his conversations with critics, scholars, and journalists, spanning the 1960s to the 1990s and illuminating key facets of his life work and ideas.

    This second collection brings together the best of his other non-fiction pieces, on film and tv, writers and painters and music, and including one exceptional fragment of autobiography. With subject matter ranging from the Sundance Festival to Abbey Road Studios, from P.G. Wodehouse to The West Wing, these are pieces that ‘were written for fun, or because I felt I had things to say and time to say them, or because the commissions were unusual and imaginative, or because … I was being asked to go somewhere I had never been before.’

    Addressing some of the key questions of film theory, spectatorship, and narrative, Laura Mulvey here argues that such technologies, including home DVD players, have fundamentally altered our relationship to the movies. According to Mulvey, new media technologies give viewers the ability to control both image and story, so that movies meant to be seen collectively and followed in a linear fashion may be manipulated to contain unexpected and even unintended pleasures. The individual frame, the projected film’s best-kept secret, can now be revealed by anyone who hits pause. Easy access to repetition, slow motion, and the freeze-frame, Mulvey argues, may shift the spectator’s pleasure to a fetishistic rather than a voyeuristic investment in film. By exploring how technology can give new life to old cinema, Death 24x a Second offers an original reevaluation of film’s history and its historical usefulness.

    Many people have told his story incorrectly, and many rumors have surfaced about his life. After years of research we can present this telling of his life story, setting the record straight and giving you a warm, funny and even tragic insight in to the man behind Albert Steptoe.

    When the house lights go down and the lion roars, we settle in to be shocked, frightened, elated, moved, and thrilled. We expect magic. While we’re being exhilarated and terrified, our minds are also processing data of all sorts—visual, linguistic, auditory, spatial—to collaborate in the construction of meaning.Thomas C. Foster’s Reading the Silver Screen will show movie buffs, students of film, and even aspiring screenwriters and directors how to transition from merely being viewers to becoming accomplished readers of this great medium. Beginning with the grammar of film, Foster demonstrates how every art form has a grammar, a set of practices and if-then propositions that amount to rules. He goes on to explain how the language of film enables movies to communicate the purpose behind their stories and the messages they are striving to convey to audiences by following and occasionally breaking these rules.Using the investigative approach readers love in How to Read Literature Like a Professor, Foster examines this grammar of film through various classic and current movies both foreign and domestic, with special recourse to the “AFI 100 Years-100 Movies” lists. The categories are idiosyncratic yet revealing.In Reading the Silver Screen, readers will gain the expertise and confidence to glean all they can from the movies they love.

    (“Every single frame,” declared Cate Blanchett, “is burned into my retina.”) As Dyer guides us into the zone of Tarkovsky’s imagination, we realize that the film is only the entry point for a radically original investigation of the enduring questions of life, faith, and how to live. In a narrative that gives free rein to the brilliance of Dyer’s distinctive voice—acute observation, melancholy, comedy, lyricism, and occasional ill-temper—Zona takes us on a wonderfully unpredictable journey in which we try to fathom, and realize, our deepest wishes.Zona is one of the most unusual books ever written about film, and about how art—whether a film by a Russian director or a book by one of our most gifted contemporary writers—can shape the way we see the world and how we make our way through it.