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    It traces the experiments and innovations that gave rise to the modern cinema, developing a vocabulary that helps explain the variety of choices filmmakers make when they construct shots and edit them together. In each lecture, Professor Raphael Shargel introduces a period of film history, talks about its importance, covers aspects of cinematic technique, and illustrates his points by analyzing specific movies from the era under discussion. The course thus has both breadth and depth, covering the major movements in film history while at the same time focusing on key pictures worthy of study and enjoyment. Lecture 1 The Origins of Cinema and the Grammar of FilmLecture 2 Film Imagery and the Theory of MontageLecture 3 Storytelling in the 1930s and StagecoachLecture 4 Citizen Kane: An American MasterpieceLecture 5 World War II and the Cinema of Community: Casablanca; Now, Voyager; and It's a Wonderful LifeLecture 6 Noir and Neorealism: Bicycle Thieves and On the WaterfrontLecture 7 Love and the Mirror of Death: Alfred Hitchcock's VertigoLecture 8 Widescreen: The World Writ Large and Intimate: The ApartmentLecture 9 The New Wave in France: The 400 Blows and Week-endLecture 10 The American New Wave I: Politics and Family: The GodfatherLecture 11 The American New Wave II: The Social Canvas: NashvilleLecture 12 The Rule of the Blockbuster: Star Wars and Raiders of the Lost ArkLecture 13 Gender, Race, and the Varieties of Cinematic Experience: Vagabond, Do the Right Thing, and Lone StarLecture 14 The Contemporary Maverick: Goodfellas, Million Dollar Baby, Persepolisfrom www.learnoutloud.com

    Governments have sought to control, censor, or bend art to their own purposes; artists have resisted and subverted such efforts. But what happens when artists work on behalf of a political program? When does art become propaganda? Is art tainted, diminished, or elevated by its political content?Toby Clark argues that propaganda art appears in many guises, and that the desire to persuade is not always at odds with aesthetic aims. He examines these many forms: the state propaganda of Nazi Germany, Fascist Italy, and Stalin's Soviet Union; democratic governments' representation of enemies in wartime; and anti-government protest art around the world, uncovering the complex rhetoric, high beauty, and ambiguous role of art that dwells in the political realm.

    It is about the death of physical film in the digital era and about a paranoid, secretive, eccentric, and sometimes obsessive group of film-mad collectors who made movies and their projection a private religion in the time before DVDs and Blu-rays.The book includes the stories of film historian/critic Leonard Maltin, TCM host Robert Osborne discussing Rock Hudson's secret 1970s film vault, RoboCop producer Jon Davison dropping acid and screening King Kong with Jefferson Airplane at the Fillmore East, and Academy Award-winning film historian Kevin Brownlow recounting his decades-long quest to restore the 1927 Napoleon. Other lesser-known but equally fascinating subjects include one-legged former Broadway dancer Tony Turano, who lives in a Norma Desmond-like world of decaying movie memories, and notorious film pirate Al Beardsley, one of the men responsible for putting O. J. Simpson behind bars.Authors Dennis Bartok and Jeff Joseph examine one of the least-known episodes in modern legal history: the FBI's and Justice Department's campaign to harass, intimidate, and arrest film dealers and collectors in the early 1970s. Many of those persecuted were gay men. Victims included Planet of the Apes star Roddy McDowall, who was arrested in 1974 for film collecting and forced to name names of fellow collectors, including Rock Hudson and Mel Torm�.A Thousand Cuts explores the obsessions of the colorful individuals who created their own screening rooms, spent vast sums, negotiated underground networks, and even risked legal jeopardy to pursue their passion for real, physical film.

    But for someone who should have been hailed as a pioneer in the genre there was little information available. For, as O’Meara soon discovered, Patrick’s contribution had been claimed by a jealous male colleague, her career had been cut short and she soon after had disappeared from film history. No one even knew if she was still alive.As a young woman working in the horror film industry, O’Meara set out to right the wrong, and in the process discovered the full, fascinating story of an ambitious, artistic woman ahead of her time. Patrick’s contribution to special effects proved to be just the latest chapter in a remarkable, unconventional life, from her youth growing up in the shadow of Hearst Castle, to her career as one of Disney’s first female animators. And at last, O’Meara discovered what really had happened to Patrick after The Creature’s success, and where she went.A true-life detective story and a celebration of a forgotten feminist trailblazer, Mallory O’Meara’s The Lady from the Black Lagoon establishes Patrick in her rightful place in film history while calling out a Hollywood culture where little has changed since.

    At the highest levels of the government, its code name was Operation Shocker. Lured by a double agent working for the USA, ten Russian spies, including a University of Minnesota professor, his wife & a classic sleeper spy in NYC, were sent by Moscow to penetrate America's secrets. Two FBI agents were killed & secret formulae were passed to the USSR in a dangerous ploy that may have spurred Moscow to create the world's most powerful nerve gas. Cassidy's Run tells this true story for the 1st time, following a trail that leads from DC to Moscow, with detours to Florida, Minnesota & Mexico. Based on documents secret until now & scores of interviews in the USA & USSR, the book reveals that: more than 4500 pages of classified documents, including US nerve gas formulas, were passed to the USSR in exchange for hundreds of thousands of dollars; an Armageddon code: a telephone call to a number in NYC, was to alert the sleeper spy to an impending nuclear attack--a warning he would transmit to the Soviets by radio signal from atop a rock in Central Park; two FBI agents were killed when their plane crashed during surveillance of one of the spies as he headed for the Canadian border; secret drops for microdots were set up by Moscow from NY to Florida to DC. More than a cloak-&-dagger tale, Cassidy's Run is the story of one ordinary man, Sergeant Joe Cassidy, not trained as a spy, who suddenly found himself the FBI's secret weapon in a dangerous clandestine war.

    Lynch responds to each recollection and reveals the inner story of the life behind the art.

    citizens are looking for a new leader. That leader is Canada, and they want your vote for president of the United States.Since launching their video campaign in January, the Canada Party has gone viral, with almost a million hits on YouTube and coverage ranging from CNN and the BBC to the Huffington Post and German State Television. Their new book, America, but Better: the Canada Party Manifesto, balances the doctrine of American exceptionalism with a dose of Canadian humility and common sense in an effort to secure Canada as the new leader of the free world, by proxy.Their promises: One gay couple will be allowed to marry for every straight couple that gets divorced. The phrase "job creators" will be changed to "job creationists," and they will be given seven days to actually create some. Corporations will still be people, but if they can't provide a birth certificate they will be legally obligated to care for your lawn. Corners will be installed in the Oval Office, and timeouts given to congressmen who can't play nice.Devoted to restoring America to its former glory, the Canada Party will soon have the whole world chanting, "Yes We Canada."

    This ideology, Professor Lipset observes, defines the limits of political debate in the United States and shapes our society.American Exceptionalism explains why socialism has never taken hold in the United States, why Americans are resistant to absolute quotas as a way to integrate blacks and other minorities, and why American religion and foreign policy have a moralistic, crusading streak.