The world knows her as the First Lady of Television, but Lucille Ball's talent also shone brightly on the cinema screen in over eighty films spanning five decades, most from Hollywood's glamorous golden age of the 1930s and '40s. Lucy at the Movies is a long overdue showcase for this area of the star's career, offering behind-the-scenes stories and essential information for every film in which she appeared. The pages are filled with rare photos of the beautiful young actress, many from her own first scrapbooks. Explored from her days as a showgirl through blonde, brunette, and “Tango Red” incarnations, from black-and-white through glorious Technicolor, this is a complete reference guide and a tribute to a star and an era. “Lucy at the Movies was an enormous undertaking. But it's clear that it was also a labor of love. My mother would be very impressed and flattered . . . The value in this encyclopedia is the information on, not only the film career of Lucille Ball, but the way films were made. It's an invaluable history of the motion picture industry and those who first created it.”--Lucie Arnaz

Provides cast list, plot and information about each individual film, and reviews and quotes from other actors.

Art Nouveau thrived from the late 1890s through the First World War. The international design movement reveled in curvilinear forms and both playful and macabre visions and had a deep impact on cinematic art direction, costuming, gender representation, genre, and theme. Though historians have long dismissed Art Nouveau as a decadent cultural mode, its tremendous afterlife in cinema proves otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's long history in films from various decades and global locales, appreciating the movement's enduring avant-garde aesthetics and dynamic ideology. Fischer begins with the portrayal of women and nature in the magical "trick films" of the Spanish director Segundo de Chomón; the elite dress and décor design choices in Cecil B. DeMille's The Affairs of Anatol (1921); and the mise-en-scène of fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome (1923), Fischer shows how the cinema offered an engaging frame for adapting the risqué works of Oscar Wilde and Aubrey Beardsley. Moving to the modern era, Fischer focuses on a series of dramatic films, including Michelangelo Antonioni's The Passenger (1975), that make creative use of the architecture of Antoni Gaudí; and several European works of horror—The Abominable Dr. Phibes (1971), Deep Red (1975), and The Strange Color of Your Body's Tears (2013)—in which Art Nouveau architecture and narrative supply unique resonances in scenes of terror. In later chapters, she examines films like Klimt (2006) that portray the style in relation to the art world and ends by discussing the Art Nouveau revival in 1960s cinema. Fischer's analysis brings into focus the partnership between Art Nouveau's fascination with the illogical and the unconventional and filmmakers' desire to upend viewers' perception of the world. Her work explains why an art movement embedded in modernist sensibilities can flourish in contemporary film through its visions of nature, gender, sexuality, and the exotic.

Film and Female Consciousness analyses three contemporary films that offer complex and original representations of women's thoughtfulness and individuality: In the Cut (2003), Lost in Translation (2003) and Morvern Callar (2002). Lucy Bolton compares these recent works with well-known and influential films that offer more familiar treatments of female subjectivity: Klute (1971), The Seven Year Itch (1955) and Marnie (1964). Considering each of the older, celebrated films alongside the recent, unconventional works illustrates how contemporary filmmaking techniques and critical practices can work together to create provocative depictions of on-screen female consciousness. Bolton's approach demonstrates how the encounter between the philosophy of Luce Irigaray and cinema can yield a fuller understanding of the fundamental relationship between film and philosophy. Furthermore, the book explores the implications of this approach for filmmakers and spectators, and suggests Irigarayan models of authorship and spectatorship that reinvigorate the notion of women's cinema.

The Little Theatre of Alexandria presents "Mame," based on the novel by Patrick Dennis and the play "Auntie Mame," by Lawrence & Lee, music and lyrics by Jerry Herman, produced by Susan and Tom Jocelyn, director Norman Bernhardt, musical director Clova Demaine, choreographer Ardith Cavallo, produced by special arrangement with Music Theatre International and Trans-Witmark Music Library.

If you love rom-coms you'll love this sassy, funny romance that will make you fall head over heels with the help of twelve classic films and a misbehaving cat named Nigel. Perfect for fans of Zoella, Geek Girl and Holly Bourne. One: I am hopelessly in love with Hanna Bergdahl. Two: for the first time since our recent reunion Hanna Bergdahl appears to be single. And three: I am stuck in that inescapable netherworld of demons and acne - the Friend Zone. Sol and Hanna were best friends at primary school and after reuniting at college, they spend approximately seventy per cent of daylight hours together. When disaster strikes at a New Year's Eve party and Hannah sees new boyfriend Danny Dukas kissing Lizzie Banks, a New Year's Resolution is formed. Sol and Hanna will watch one film a month for twelve months until the next New Year. After all, films hold answers to life's hardest questions. Maybe they'll figure out why they are both members of the dumpee club. Only Sol Adams has a new year's resolution of his own: to kiss Hanna Bergdahl before the year is over. Will Sol ever defeat the Friend Zone?

During the 1920s, sound revolutionized the motion picture industry and cinema continued as one of the most significant and popular forms of mass entertainment in the world. Film studios were transformed into major corporations, hiring a host of craftsmen and technicians including cinematographers, editors, screenwriters, and set designers. The birth of the star system supported the meteoric rise and celebrity status of actors including Charlie Chaplin, Mary Pickford, Joan Crawford, Greta Garbo, and Rudolph Valentino while black performers (relegated to "race films") appeared infrequently in mainstream movies. The classic Hollywood film style was perfected and significant film genres were established: the melodrama, western, historical epic, and romantic comedy, along with slapstick, science fiction, and fantasy. In ten original essays, American Cinema of the 1920s examines the film industry's continued growth and prosperity while focusing on important themes of the era.

Maisy and her friends enjoy an adventure-filled movie as they go to the cinema for the first time.

What is as unique as your fingerprints and more revealing than your diary? Hint: Your body is emitting them right now and has been every single day of your life. Brainwaves. Analyzing brainwaves, the imperceptible waves of electricity surging across your scalp, has been possible for nearly a century. But only now are neuroscientists becoming aware of the wealth of information brainwaves hold about a person's life, thoughts, and future health. From the moment a reclusive German doctor discovered waves of electricity radiating from the heads of his patients in the 1920s, brainwaves have sparked astonishment and intrigue, yet the significance of the discovery and its momentous implications have been poorly understood. Now, it is clear that these silent broadcasts can actually reveal a stunning wealth of information about any one of us. In Electric Brain, world-renowned neuroscientist and author R. Douglas Fields takes us on an enthralling journey into the world of brainwaves, detailing how new brain science could fundamentally change society, separating fact from hyperbole along the way. In this eye-opening and in-depth look at the most recent findings in brain science, Fields explores groundbreaking research that shows brainwaves can: • Reveal the type of brain you have—its strengths and weaknesses and your aptitude for learning different types of information • Allow scientists to watch your brain learn, glean your intelligence, and even tell how adventurous you are • Expose hidden dysfunctions—including signifiers of mental illness and neurological disorders • Render your thoughts and transmit them to machines and back from machines into your brain • Meld minds by telepathically transmitting information from one brain to another • Enable individuals to rewire their own brains and improve cognitive performance Written by one of the neuroscientists on the cutting edge of brainwave research, Electric Brain tells a fascinating and obscure story of discovery, explains the latest science, and looks to the future—and the exciting possibilities in store for medicine, technology, and our understanding of ourselves.

Do films made by women comprise a "counter-cinema" radically different from the dominant tradition? Feminist film critics contend that women filmmakers do present from a distinctive vision, or "countershot," and Lucy Fischer argues persuasively for this view. In rich detail this book relates the idea of a counter-cinema to theories of intertextuality and locates it in the broad context of recent feminist film, literary, and art criticism. Fischer also employs an original critical model of the dialogue between women's cinema and film tradition in the very organization of the book. Each chapter discusses a theme or genre (such as the musical, the "double," the myth of womanhood, and the figure of the actress), counterposing two or more works--from the feminist and from the dominant cinema. What emerges is a fascinating picture of a women's film tradition that not only addresses but reworks and remakes the mainstream cinema. Fischer successfully combines two main strains of feminist criticism: the deconstructive critique of the dominant culture from a feminist standpoint and the study of a feminist counterculture. Examining films from Persona and The Lady from Shanghai to Girlfriends and Sisters, or the Balance of Happiness, the book offers fresh interpretations of individual works and can, incidentally, serve as an introduction to the field of feminist film criticism. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.