| Item 9780719047725$10.45 - $10.97  up to $0.42 CashbackGreenaway's assertion that his is 'a cinema of ideas not plots' is developed in this book with discussion of his use of the themes of repetition, quotation theatricality, power relations and images of the nude as flesh. Close analysis of individual films such as The Cook, The Thief, His Wife and Her Lover, Belly of an Architect and Drowni... | $10.45
 $0.42 Cashback $10.97
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Greenaway's assertion that his is 'a cinema of ideas not plots' is developed in this book with discussion of his use of the themes of repetition, quotation theatricality, power relations and images of the nude as flesh. Close analysis of individual films such as The Cook, The Thief, His Wife and Her Lover, Belly of an Architect and Drowning by Numbers together with a discussion of his latest film The Pillow Book (1996) and recent interviews between Greenaway and Alan Woods about his work, make this book a must for all Greenaway enthusiasts.
Greenaway's assertion that his is 'a cinema of ideas not plots' is developed in this book with discussion of his use of the themes of repetition, quotation theatricality, power relations and images of the nude as flesh. Close analysis of individual films such as The Cook, The Thief, His Wife and Her Lover, Belly of an Architect and Drowning by Numbers together with a discussion of his latest film The Pillow Book (1996) and recent interviews between Greenaway and Alan Woods about his work, make this book a must for all Greenaway enthusiasts.
An essential guide to film director Greenaway's art probing the vision of the controversial and intriguing filmster. Woods (historical and theoretical studies, U. of Dundee) conveys the pictorial history of films such as The Draughtsman's Contract and the most recent The Pillow Book as well as Greenaway's other work in experimental TV, opera, and various exhibitions, following the director's insistence that his work is a "cinema of ideas not plots" by commenting on themes such as applause, books and language, maps, family relations, and the elements of character, diction, and spectacle. Along with two Greenaway interviews, the volume succeeds in illustrating the moving art that is the director's claim to fame. Annotation c. by Book News, Inc., Portland, Or.
Being Naked - Playing Dead : The Art of Peter Greenaway General
| ISBN | 9780719047725 |
| Fiction/Non-Fiction | Non-Fiction |
| Publisher | Manchester Univ Pr |
| List Price | $26.95 |
| Author | Woods, Alan |
| Publication Date | 02/01/1997 |
| Release Status | Out of Stock Indefinitely |
| Format | Paperback |
| Language | English |
| Measurements | Height: 9.75 Inches (US)Width: 6.75 Inches (US)Thickness: 0.75 Inches (US)Unit Weight: 1.75 Pounds (US) |
Greenaway's assertion that his is 'a cinema of ideas not plots' is developed in this book with discussion of his use of the themes of repetition, quotation theatricality, power relations and images of the nude as flesh. Close analysis of individual films such as The Cook, The Thief, His Wife and Her Lover, Belly of an Architect and Drowning by Numbers together with a discussion of his latest film The Pillow Book (1996) and recent interviews between Greenaway and Alan Woods about his work, make this book a must for all Greenaway enthusiasts.
Greenaway's assertion that his is 'a cinema of ideas not plots' is developed in this book with discussion of his use of the themes of repetition, quotation theatricality, power relations and images of the nude as flesh. Close analysis of individual films such as The Cook, The Thief, His Wife and Her Lover, Belly of an Architect and Drowning by Numbers together with a discussion of his latest film The Pillow Book (1996) and recent interviews between Greenaway and Alan Woods about his work, make this book a must for all Greenaway enthusiasts.
An essential guide to film director Greenaway's art probing the vision of the controversial and intriguing filmster. Woods (historical and theoretical studies, U. of Dundee) conveys the pictorial history of films such as The Draughtsman's Contract and the most recent The Pillow Book as well as Greenaway's other work in experimental TV, opera, and various exhibitions, following the director's insistence that his work is a "cinema of ideas not plots" by commenting on themes such as applause, books and language, maps, family relations, and the elements of character, diction, and spectacle. Along with two Greenaway interviews, the volume succeeds in illustrating the moving art that is the director's claim to fame. Annotation c. by Book News, Inc., Portland, Or.
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