The Gospel According to Matthew: Pier Paolo Pasolini: Pocket Movie Guide

Jeremy Mark Robinson

Religion & Spirituality

Crescent Moon Publishing

THE BEAST WALERIAN BOROWCZYK By Jeremy Robinson Walerian Borowczyk (1923-2006) is one of cinema's great talents. Quite simply, there is no filmmaker quite like 'Boro'. Borowczyk's films have an astonishing, magical quality. They reach a place very rare in contemporary cinema, and are quite unlike the films of any other auteur. Borowczyk's films create their own space, with imagery, sounds and music of a really exceptional power. La Bête (a.k.a. The Beast, The Beast in Heat and Death's Ecstasy, 1975) was Walerian Borowczyk's most controversial film, a mixture of French farce, surrealism, and a lot of sex (including bestiality). The story of La Bête involves an American heiress Lucy Broadhurst (Lisbeth Hummel) being brought to a French chateau with her aunt Virginia (Elisabeth Kaza) by the scheming owners (in particular the marquis, Pierre de l'Esperance [played by Guy Tréjan]), who need to marry her to the earthy, degenerate (and somewhat backward) son of the family Mathurin (Pierre Benedetti) in order to circumvent a will which'll keep the family home intact. That's the framing story, about grasping aristocrats, decadent morality, degenerate priests and sexually repressed young women. This part of the film's set in the 20th century, though it's not the conventional modern, urban world of most movies. La Bête takes place exclusively at the French chateau and its grounds (the film is in French, but there is English dialogue - Virginia, Lucy and their chauffeur speak English). The appendices include a note on fairy tales, and on other versions of Beauty and the Beast (including the Jean Cocteau movie, and the 1991 Walt Disney musical movie). This 3rd edition has been expanded and revised. Hardcover with a colour laminated cover. Fully illustrated, with over 120 stills from The Beast, and Walerian Borowczyk's movies, plus influences, a bibliography, filmography, appendices, quotes from Borowczyk and notes. 290pp. www.crmoon.com

The Beast: Walerian Borowczyk: An Erotic Fairy Tale

Humor & Entertainment

Movies

Women in Pop Music

Challis, Helen

Brigitte's Blue Heart (British Poets Series)

Literature & Fiction

Unknown, Author

Poetry

COLOURFIELD PAINTING  Sixties painting was variously termed Colourfield, Hard Edge, Minimal, and post-painterly abstraction, and was linked with Pop Art, Op (optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting.   The painters linked in this study with ‘Colourfield’, ‘Hard Edge’ ‘Minimal’ and ‘Post-Painterly Abstraction’ painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colourfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray.   Colourfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser’s “Questions to Andre and Judd”, Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. Time and again Judd insisted that the new art was to trying to get away from the European tradition. ‘It suits me fine if that’s all down the drain’, Judd said. ‘I’m totally uninterested in European art and I think it’s over with.’   Many of the Colourfield and Sixties painters have made extremely brilliantly colourful works in the 1960s, then turned back to the sombre colours of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated colour: they moved back and forth from monochrome greys and blacks to full colour. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright colour to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colours of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works.   Fully illustrated, with notes and bibliography.

Colourfield Painting: Minimal, Cool, Hard Edge, Serial and Post-Painterly Abstract Art of the Sixties to the Present

Arts & Photography

GARRARD, LAURA

Morris, Stuart

History & Criticism

Holderlin's Songs of Light: Selected Poems (European Writers Series)

Friedrich Hölderlin

THE SACRED CINEMA OF ANDREI TARKOVSKY A major new study of Russian filmmaker Andrei Tarkovsky (1932-1986), director of seven feature films, including Mirror, Andrei Roublyov, Solaris and The Sacrifice. This book explores every aspect of Andrei Tarkovsky's output in the most detailed fashion - including scripts, budget, production, shooting, editing, camera, sound, music, acting, themes, symbols, motifs, and spirituality. Tarkovsky's films are analyzed in depth, with scene-by-scene discussions. This is an important addition to film studies, the most painstaking study of Andrei Tarkovsky's work available. Andrei Tarkovsky is one of the most fascinating of filmmakers. He is supremely romantic, an old-fashioned, traditional artist - at home in the company Leonardo da Vinci, Pieter Brueghel, Aleksandr Pushkin, Fyodor Dostoievsky and Byzantine icon painters. Tarkovsky is a magician, no question, but argues for demystification (even while films celebrate mystery). His films are full of magical events, dreams, memory sequences, multiple viewpoints, multiple time zones and bizarre occurrences. As genre films, Andrei Tarkovsky's movies are some of the most accomplished in cinema. As science fiction films, Stalker and Solaris have no superiors, and very few peers. Only the greatest sci-fi films can match them: Metropolis, King Kong, Close Encounters of the Third Kind and 2001: A Space Odyssey. Tarkovsky happily and methodically rewrote the rules of the sci-fi genre: Stalker and Solaris are definitely not routine genre outings. They don't have the monsters, the aliens, the visual effects, the battles, the laser guns, the stunts and action set-pieces of regular science fiction movies. No one could deny that Andrei Roublyov is one of the greatest historical films to explore the Middle Ages, up there with The Seventh Seal, El Cid, The Navigator and Pier Paolo Pasolini's 'Life' trilogy. If you judge Andrei Roublyov in terms of historical accuracy, epic spectacle, serious themes, or cinematic poetry, it comes out at the top. Finally, in the religious film genre, The Sacrifice and Nostalghia are among the finest in cinema, the equals of the best of Ingmar Bergman, Luis Bunuel, Robert Bresson and Carl-Theodor Dreyer. Contains 150 illustrations, of Andrei Tarkovsky's films, Tarkovsky at work, his contemporaries, and his favourite painters. Bibliography, filmographies and notes. Illustrated. 696pp. ISBN 9781861710284. www.crmoon.com CONTENTS Acknowledgements 17 Abbreviations 19 Illustrations: Andrei Tarkovsky At Work 23 0 Introduction 33 P A R T O N E T H E A R T I S T 1 The Poetry of Cinema 55 2 Religion and Cinema 75 3 Andrei Tarkovsky and the Religious Film 105 4 The Film Image 123 5 The Mysteries of Space and Time 137 6 Symbols and Motifs 155 7 The Worlds of Andrei Tarkovsky 175 8 Sound and Music 187 9 Production 203 10 Andrei Tarkovsky and Painting 235 11 Philosophy and Religion in Andrei Tarkovsky’s Cinema 261 12 Structure and Narration 281 13 Childhood, Family and Character 293 14 Love, Gender and Sexuality 305 P A R T T W O T H E F I L M S 15 Ivan’s Childhood 317 16 The Passion According To Andrei Roublyov: Andrei Roublyov 335 17 Solaris 369 18 Beyond the Mirror: Mirror 401 19 Into the Wasteland: Faith and the Quest in Stalker 437 20 The Angel Under the Water: Nostalghia 467 21 The Ultimate Act: The Sacrifice 495 22 Critical Responses to Andrei Tarkovsky’s Cinema 525 Notes 553 Bibliography 575 Filmography 597 Illustrations 603

The Sacred Cinema of Andrei Tarkovsky (Media, Feminism, Cultural Studies)

ROBINSON, JEREMY MARK

Dante: An Essay and de Monarchia (European Writers)

Church, Richard William

ALIGHIERI, DANTE

Mark Rothko: The Art of Transcendence (Painters Series)

NOT A BOOK

WILLIAM SHAKESPEARE: THE SONNETS The Sonnets represent the highpoint of love poetry in English: they continue to astonish and delight with the abundance of their word play and the intensity of the erotic feelings they depict. This book prints all of Shakespeare's 154 sonnets and provides a commentary on this narrative of rivalry in love. Each poem is printed on its own on the page, without footnotes and annotations. Includes illustrations, an introduction, notes on certain sonnets, and a bibliography of references. www.crmoon.com The Sonnets are central to William Shakespeare's art. They display Shakespeare's poetic talent at its height. The Sonnets are the great love poem sequence in British poetry, as well as being the longest single group of English Renaissance sonnets. They rival in grandeur, skill and cleverness the poetic sequence from which they ultimately derive (via Sir Thomas Wyatt): Francesco Petrarch's Rime Sparse. In Shakespeare's Sonnets, introspection and self-analysis is as rigorous as in Petrarch's Canzoniere, but Shakespeare's bitterness and sense of irony is more deeply ingrained than in Petrarch's poems. William Shakespeare's Sonnets came late in the development of the Petrarchan sonnet sequence. They are decadent, late efforts of an already (by the 1590s) old-fashioned poetic form. Yet Shakespeare manages to infuse the sonnet sequence with an extraordinary power and magic. The Sonnets, indeed, contain some of the most marvellous moments in any (English) poetry. The magnificence of the opening lines of the Sonnets, for instance, is undeniable: Shall I compare thee to a summer's day? (18.1) Full many a glorious morning have I seen Flatter the mountain tops with sovereign eye, Kissing with golden face the meadows green, Gilding pale streams with heavenly alchemy (33.1-4) Take all my loves, my love, yea, take them all (40.1) Sweet love, renew thy force (56.1) Let me not to the marriage of true minds Admit impediments: love is not love Which alters when it alteration finds, Or bends with the remover to remove. (116.1-4) My love is as a fever, longing still (147.1)

The Sonnets

Shakespeare., William

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