Bøger af Jonathan Rosenbaum

A culmination of nearly six decades of writing from the mind of iconoclastic film, literary, and music critic Jonathan Rosenbaum.Looking back at his more than 50 years of writing, where many flights of fancy and fantasy prove to suggest certain duties as well as privileges, Jonathan Rosenbaum has teased out three threads in particular: the film criticism he is mainly known for (especially during his 20-year stint at the Chicago Reader), the literary criticism he has also been publishing over the past half-century, and the jazz criticism he has been writing during the same period.Believing that these three art forms are interrelated and have often been intertwined in his perceptions of them, he builds a manifesto out of a hundred of his best pieces, arranged chronologically, taking on such disparate figures as Stanley Kubrick, Thomas Pynchon, Sonny Rollins, Michael Snow, Philip Roth, Duke Ellington, Spike Lee, Roland Barthes, Keith Jarrett, Jean-Luc Godard, Vladimir Nabokov, and Ahmad Jamal, and such diverse subjects as Adam Curtis documentaries, Mad, Peanuts, Louis Armstrong, Italo Calvino, A.I. Artificial Intelligence, Shoah, Johnny Guitar, PlayTime, Chantal Akerman, Kelly Reichardt, Kira Muratova, William Faulkner’s Light in August, Bad Luck Banging or Loony Porn, and, in a final essay dealing with all three art forms, a film of a jazz cantata by André Hodeir derived from a passage in James Joyce’s Finnegans Wake.

A straight forward story uses Rhythm, Rhyme, Repetition and Alliteration to engage the audience on a little journey. This is perfect for young readers at bedtime as well in the classroom. The use of a fictional creature was to engage the reader along with being all inclusive by being unique.

The Ugly Duckling but in reverse. Beastlings are fierce and scare for food, and this young group of Beastlings have an oddball that just can't scare. She was too cute to scare anything. We wonder if she'll survive. Just like the original fable, this story is about being yourself and being ok with it.

Collection of previously published essays and interviews, from 1972-2009.

Of the dozens of books written about Orson Welles, most focus on the central enigma of Welles's career: why did someone so extravagantly talented neglect to finish so many projects? Film critic Jonathan Rosenbaum has long believed that to dwell on this aspect of the Welles canon is to overlook the wealth of information available by studying the unrealized works. Discovering Orson Welles collects Rosenbaum's writings to date on Welles-some thirty-five years of them-and makes an irrefutable case for the seriousness of his work, illuminating both Welles the artist and Welles the man. The book is also a chronicle of Rosenbaum's highly personal writer's journey and his efforts to arrive at the truth. The essays, interviews, and reviews are arranged chronologically and are accompanied by commentary that updates the scholarship. Highlights include Rosenbaum's 1972 interview with Welles about his first Hollywood project, Heart of Darkness; Rosenbaum's rebuttal to Pauline Kael's famous essay "e;Raising Kane"e;; detailed essays and comprehensive discussions of Welles's major unfinished work, including two unrealized projects, The Big Brass Ring and The Cradle Will Rock; and an account of Rosenbaum's work as consultant on the 1998 re-editing of Touch of Evil, based on a studio memo by Welles.

This collection of reviews and essays focuses on the political and social dynamics of the contemporary movie scene. It explores the many links between film and our ideological identities as individuals and as society.

Offers an account of a life steeped in and shaped by the movies. Part autobiography, part film analysis, and part social history, this title leads us through a series of screen memories, making us aware of movies as markers of the past - when and where we saw them, with whom, and what we did afterward.

This is a collection of film critic Jonathan Rosenbaum's work. Written over a span of 21 years, these essays cover a broad range of films - from Hollywood blockbusters to foreign art movies to experimental cinema. They include reviews, commentary and analysis of the practice of film criticism.

The esteemed film critic Jonathan Rosenbaum has brought global cinema to American audiences for the last four decades. This book gathers together over fifty examples of Rosenbaum's criticism over the years, each of which demonstrates his passion for the way we view movies, as well as how we write about them.

A cogent and provocative argument about the art of film, Essential Cinema is a fiercely independent reference book of must-see movies for film lovers everywhere.

Those who follow and share such work, as contributors from around the world demonstrate in this book, are forming new kinds of critical communities that enable significant exchanges between cultures at a time when other forces seem bent on keeping them mutually isolated.

When it was released, "Dead Man" puzzled many audiences and critics. Here, the author argues that the film is both a quantum leap and a logical step in the director's career, and it's a film that speaks powerfully of contemporary concerns.

"Innovative film and theater director, radio producer, actor, writer, painter, narrator, and magician, Orson Welles (1915--1985) was the last true Renaissance man of the twentieth century. From such gre"