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One of the most significant filmmakers of modern times (Ivan’s Childhood, Andrei Rublev, Solaris, The Mirror, and Stalker), Andrei Tarkovsky (1932–1986) was hugely influenced by the poems of his father, Arsenii (1907–1989). Rendered here for the first time in English, the poems echo through many of the films and illuminate the creative relationship between father and son. While his son’s place in film history is acknowledged worldwide, Arsenii, who fell afoul of Soviet censorship, is still little-known outside Russia. The 148 poems translated here explore universal themes such as love, nature, family, aging, war, and memory, and place the poetry within the context of the father/son and poet/filmmaker relationship that so dominates the Tarkovsky story.

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Susan McCabe juxtaposes the work of four American modernist poets with the techniques and themes of early twentieth-century European avant-garde films. The historical experience of World War One and its aftermath of broken and shocked bodies shaped a preoccupation with fragmentation in both film and literature. Film, montage and camera work provided poets with a vocabulary through which to explore and refashion modern physical and metaphoric categories of the body, including the hysteric, automaton, bisexual and femme fatale. This innovative study explores the impact of new cinematic modes of representation on the poetry of Gertrude Stein, William Carlos Williams, H. D., and Marianne Moore. Cinematic Modernism links the study of literary forms with film studies, visual culture, gender studies and psychoanalysis to expand the usual parameters of literary modernism.

Susan McCabe juxtaposes the work of four American modernist poets with the techniques and themes of early twentieth-century European avant-garde films. The historical experience of World War One and its aftermath of broken and shocked bodies shaped a preoccupation with fragmentation in both film and literature. Film, montage and camera work provided poets with a vocabulary through which to explore and refashion modern physical and metaphoric categories of the body, including the hysteric, automaton, bisexual and femme fatale. This innovative study explores the impact of new cinematic modes of representation on the poetry of Gertrude Stein, William Carlos Williams, H. D., and Marianne Moore. Cinematic Modernism links the study of literary forms with film studies, visual culture, gender studies and psychoanalysis to expand the usual parameters of literary modernism.

A Love of Film is something shared by most of us, whether or not we admit or recognize it. In film, there is something of each of the arts. Perhaps that's why it so indelibly impresses us. There's something for everyone. This book explores the relationship between the aesthetic and the technical--the poetry and the hardware of making movies--in a way that's both enlightening and entertaining. It deals as well with the still unanswered mysteries of this extraordinary medium. Is the darkness of today's color films due only to the nature of their stories or to something deeper? How did "Casablanca's" many allusions lead to the way we watch movies today? A Love of Film examines why we respond to movie characters as we do, how we "coauthor" the films we see, and the link between memories, dreams, and movies. It references many memorable performances, the "best" of modern directors, and more than 150 films. Though it deals with the role of writing, shooting, and editing in this collaborative process, and with the preeminence of performance and the deification of directors, the book is most of all about a deep affection for the cinema. Its intent, in enlarging our understanding of moviemaking, is to make watching movies a more personal and enjoyable experience, as it has been for the author.

Cutting across literature, film, art, and philosophy, Art of the Ordinary is a trailblazing, cross-disciplinary engagement with the ordinary and the everyday. Because, writes Richard Deming, the ordinary is always at hand, it is, in fact, too familiar for us to perceive it and become fully aware of it. The ordinary he argues, is what most needs to be discovered and yet is something that can never be approached, since to do so is to immediately change it.Art of the Ordinary explores how philosophical questions can be revealed in surprising places―as in a stand-up comic’s routine, for instance, or a Brillo box, or a Hollywood movie. From negotiations with the primary materials of culture and community, ways of reading "self" and "other" are made available, deepening one’s ability to respond to ethical, social, and political dilemmas. Deming picks out key figures, such as the philosophers Stanley Cavell, Arthur Danto, and Richard Wollheim; poet John Ashbery; artist Andy Warhol; and comedian Steven Wright, to showcase the foundational concepts of language, ethics, and society. Deming interrogates how acts of the imagination by these people, and others, become the means for transforming the alienated ordinary into a presence of the everyday that constantly and continually creates opportunities of investment in its calls on interpretive faculties.In Art of the Ordinary, Deming brings together the arts, philosophy, and psychology in new and compelling ways so as to offer generative, provocative insights into how we think and represent the world to others as well as to ourselves.

Vinyl LP pressing. Fifteen of the 19 tracks contained in Endless Poetry: Original Motion Picture Soundtrack were composed and performed by Alejandros son Adan Jodorowsky (AKA Adanowsky), who also stars in the film, portraying his own father as a young man. Multi-instrumentalist composer/arranger Jon Handelsman contributed four songs to the soundtrack. Sueo sin fin was composed and arranged by both Handelsman and Alejandro Jodorowsky (the filmmakers own contribution to Endless Poetry: Origin

Poet and visual artist Faye Kicknosway presents both new works and twenty-five years of celebrated verse and illustration in her latest volume, Mixed Plate: New and Selected Poems. The poems mine common speech, folklore, film, the grotesque and the ordinary with unapologetic candor and ferocious intimacy. They are a testament to the power of contemporary monologue, filled with surprising inversions and unique takes on the risk of opening the front door. Cutting musically to the quick of a situation, each is filled with surprise, horror and, as they add up, moral consequence.

He was the greatest poet and playwright who ever lived, the dramatist who penned lines that we quote without even realizing their origin. Shakespeare's glorious works have even inspired animated films--like Disney's The Lion King. Introduce children to the Bard with this wonderful, fully annotated collection of sonnets and soliloquies, enhanced with beautiful, highly realistic color paintings that bring each excerpt to vivid life. Here are Shakespeare's most famous speeches: "To be or not to be" from Hamlet, with the melancholy Dane pictured in front of the castle, his face pensive and gazing into the distance; Portia's gentle plea for mercy in The Merchant of Venice; Macbeth's witches' cackling "Double, double, toil and trouble"; and Marc Antony's sarcastic address to "Friends, Romans, Countrymen," in Julius Caesar. A golden-robed Henry V, kneeling and bowed from the weight of the world, ponders how rulers must bear the burden of their subjects' needs. Mercutio, seen here in a bright red background as fiery and explosive as his personality, gently teases his lovesick friend Romeo. From the tender sonnets (Shall I compare thee to a summer's day?) to the humorous songs sung by his jesters in comedies such as Twelfth Night, every page contains pure verbal and visual magic."...the most delicate challenge in introducing poetry to children [is]...making all the necessary allowances for accessibility without completely throwing felicity and mystery to the winds. In this respect...it is particularly heartening to come upon...The Poetry for Young People Series [which] should be commended for recognizing that secure stepping stones hold infinitely more hope than forced marches."--Washington Post Book World.

In this stimulating collection of new and previously published writings, the celebrated theatre and film critic returns to his first love, poetry. In his criticism over the years, Mr. Simon has consistently paid attention to the books of poets, and has in addition written occasional verse and translated foreign poetry. The poet James Dickey, in his book Sorties, recalls "a good afternoon of human time" he spent with Mr. Simon, talking about poets. "Do you know whom I really like," Mr. Simon asked. Dickey expected the name of a new French poet he hadn't heard of, but Mr. Simon pulled out The Collected Poems of Andrew Young, a rather mild English ecclesiastical poet. Dickey never forgot the avant-garde critic with the surprising taste in poetry. Dreamers of Dreams is less about mild poets, though, and more about great pathfinders and innovators: Rimbaud, Mallarmé, Rilke, Eliot, Anna Akhmatova, Paul Celan, and, yes, Oscar Wilde. But it is also about poets nearer to us: Robert Graves, Joseph Brodsky, John Ashbery, and Philip Larkin―not always in admiration. Dreamers of Dreams also includes essays on the best English poem about physical love, on translating poetry, and on some forgotten minor poets whose only sin was accessibility, and who cry out for rediscovery.

Most people outside Italy know Pier Paolo Pasolini for his films, many of which began as literary works—Arabian Nights, The Gospel According to Matthew, The Decameron, and The Canterbury Tales among them. What most people are not aware of is that he was primarily a poet, publishing nineteen books of poems during his lifetime, as well as a visual artist, novelist, playwright, and journalist. Half a dozen of these books have been excerpted and published in English over the years, but even if one were to read all of those, the wide range of poetic styles and subjects that occupied Pasolini during his lifetime would still elude the English-language reader. For the first time, Anglophones will now be able to discover the many facets of this singular poet. Avoiding the tactics of the slim, idiosyncratic, and aesthetically or politically motivated volumes currently available in English, Stephen Sartarelli has chosen poems from every period of Pasolini’s poetic oeuvre. In doing so, he gives English-language readers a more complete picture of the poet, whose verse ranged from short lyrics to longer poems and extended sequences, and whose themes ran not only to the moral, spiritual, and social spheres but also to the aesthetic and sexual, for which he is most known in the United States today. This volume shows how central poetry was to Pasolini, no matter what else he was doing in his creative life, and how poetry informed all of his work from the visual arts to his political essays to his films. Pier Paolo Pasolini was “a poet of the cinema,” as James Ivory says in the book’s foreword, who “left a trove of words on paper that can live on as the fast-deteriorating images he created on celluloid cannot.” This generous selection of poems will be welcomed by poetry lovers and film buffs alike and will be an event in American letters.

Attempting to convey the cultural milieu from which Tarkovsky comes, the author of this book, a Russian film critic, had personally known Tarkovsky since the very beginning of his career. She has had access to the archives of Mosfilm Studios where the early drafts and notes on his films are kept.

Tom Stoppard's screenplay of the film "Shakespeare in Love", strongly tipped to win an Oscar in 1999. It is 1593 and Will Shakespeare - rising young light of the Elizabethan stage - struggles with writer's block.

Informed by the criticism of iconic filmmaker Pier Pasolini, The Cinema of Poetry offers spirited explorations of poetry's influence on classic films by Dimitri Kirsanoff, Ingmar Bergman, and Andrey Tarkovsky. It also highlights how avant-garde films made by Joseph Cornell, Lawrence Jordan, Jerome Hiler, Gregory Markopoulos, and others found rich, unexpected sources of inspiration in a diverse group of poets that includes Stéphane Mallarmé, Emily Dickinson, H.D., Ezra Pound, Robert Duncan, John Ashbery, and Aeschylus. Written with verve and panache, it represents the culmination of P. Adams Sitney's career-long fascination with the intersection of poetry, film, and the avant-garde.

The emergence of photography and film in the twentieth century helped to create a shift from a culture of words to a culture of images. Since then, the question of how literature engages the visual arts has become a key question for literary studies. This extended treatment of the poetic representation of visual art examines a wide range of figures, from W. B. Yeats and Marianne Moore to Anne Sexton and Ted Hughes. Elegantly and persuasively written, the study also contains a rich sample of images that allows readers to see the same works these poets were addressing. By investigating the complex, changing relations between twentieth-century poetry, visual art and audience, it considers the way in which poetic responses to visual art place the lyric firmly within the social world. For those interested in the interplay between poetry and visual art, this will be essential reading.

Has poetry lost its relevance in the postmodern age, unable to keep pace with other forms of cultural production such as film, mass media, and the Internet? Quite the contrary, argues Jill Kuhnheim in this pathfinding book, which explores how recent Spanish American poetry participates in the fundamental cultural debates of its time.Using a variety of interdisciplinary approaches, Kuhnheim engages in close readings of numerous poetic works to show how contemporary Spanish American poetry struggles with the divisions between politics and aesthetics and between visual and written images; grapples with issues of ethnic, national, sexual, and urban identities; and incorporates rather than rejects technological innovations and elements from the mass media. Her analysis illuminates the ways in which contemporary issues such as indigenismo and Latin America's postcolonial legacy, modernization, immigration, globalization, economic shifts toward neoliberalism and informal economies, urbanization, and the technological revolution have been expressed in—and even changed the very form of—Spanish American poetry since the 1970s.

Attempting to convey the cultural milieu from which Tarkovsky comes, the author of this book, a Russian film critic, had personally known Tarkovsky since the very beginning of his career. She has had access to the archives of Mosfilm Studios where the early drafts and notes on his films are kept.

Kees's writings on painting, music, film, fiction, and poetry depict the art world from the 1930s through the 1950s

Informed by the criticism of iconic filmmaker Pier Pasolini, The Cinema of Poetry offers spirited explorations of poetry's influence on classic films by Dimitri Kirsanoff, Ingmar Bergman, and Andrey Tarkovsky. It also highlights how avant-garde films made by Joseph Cornell, Lawrence Jordan, Jerome Hiler, Gregory Markopoulos, and others found rich, unexpected sources of inspiration in a diverse group of poets that includes Stéphane Mallarmé, Emily Dickinson, H.D., Ezra Pound, Robert Duncan, John Ashbery, and Aeschylus. Written with verve and panache, it represents the culmination of P. Adams Sitney's career-long fascination with the intersection of poetry, film, and the avant-garde.

In one of the great collaborations of cinema history, L'age d'or united the geniuses of Luis Buñuel and Salvador Dali in the making of a uniquely savage blend of visual poetry and social criticism. One of the outstanding works of the Surrealist movement, L'Age d'or was banned and vilified for many years in many countries, becoming justly legendary for its subversive eroticism and its furious dissection of "civilized" values. In a remarkable, intuitive reading of L'Age d'or, Paul Hammond interweaves a detailed account of the extraordinary circumstances of its production with a dazzling interpretation of its aesthetic and political nuances. At once authoritative and polemical, this is a study entirely in tune with its subject, a fitting accompaniment to one of the major landmarks of world cinema.