Ghost Ships: A Surrealist Love Triangle

Book Description

Travel and exploration fascinated the Surrealists, who crossed continents marveling at their diversity. This riveting book retraces one of their most important and exciting voyages, made on the eve of the birth of Surrealism in 1924. It describes the secret journey made by an extraordinary ménage à trois: the painter Max Ernst, Paul Eluard (cofounder of Surrealism with André Breton), and Eluard’s wife Gala.
Robert McNab unravels the story of Ernst’s love affair with Gala, Eluard’s disappearance, Ernst and Gala’s pursuit of him, their meeting in Saigon, where the love triangle came apart, and the resulting departure of the Eluards, who left Ernst to explore the jungles of French Indochina alone. The impact of the journey on the work of both men was profound: what Eluard saw of European colonial life turned him into a radical political writer, while the oceans, tropical jungle, and ruins at Angkor Wat had a lasting effect on Ernst’s painting and sculpture. As for Gala, she eventually dropped both her lovers for Salvador Dali, breaking Eluard’s heart and inspiring Ernst to paint more than one hundred furious portraits of her.

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Ghost Ships a Surrealist Love Triangle
Robert Mcnab
Manufacturer: YALE UNIV PRESS @
ProductGroup: Book
Binding: Hardcover
ASIN: B000N65NAI

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GHOST SHIPS. A Surrealist Love Triangle
Robert McNab
Manufacturer: Yale University Press
ProductGroup: Book
Binding: Paperback
ASIN: B000OS1BAQ

Book Description

According to Islamic tradition, men dominate the public sphere and women are expected to remain indoors at most times. In photographer Lalla Essaydi's native Morocco this confinement has been further used as a punishment for those who transgress the rules of gender conduct. A practice only recently abandoned, women were at times even required to spend periods as long as a month inside otherwise uninhabited homes. In an exploration into her home country and her childhood Essaydi reverses the meaning of these spaces in Converging Territories, using them as a place where women are seen, not hidden. Essaydi's subjects are given a voice not only through their actions, but also through the written word. The women pose after long sessions during which Essaydi covers their clothing and few areas of exposed skin, as well as the rooms themselves, with Islamic calligraphy. The rebelliousness of this act is added to by the fact that the words are drawn with henna—a form of adornment considered "women's work." In a seeming contrast, the calligraphy used is a sacred Islamic art form that was once inaccessible to women. As an artist living and educated in the West, Essaydi explores her past and family with this highly personal work. Meanwhile, her images reflect the complex female identities found in Morocco and other Muslim societies—and give women the opportunity to engage in the emerging culture of Islamic feminism.

Book Description

Ayato suddenly finds himself back inside Tokyo Jupiter. There he sees his old friends, Mamoru and Hiroko. But something is not right. Bewildered, he wanders around in a world that is the embodiment of his own desires. Elsewhere, Quon awakens from her sleep, and it is decided she will be put in the care of the Bahbem Foundation. Reika makes an appearance, as do the Vermillion, TERRA's newest military technology, human specimen number one and Isshiki, Itsuki and Helena's past. Everyone is moving closer to the truth.

Book Description

Jean-Luc Godard's Pierrot le fou (1965), made at the height of the French New Wave, remains a milestone in French cinema. More accessible than his later films, it represents the diverse facets of Godard's concerns and themes: a bittersweet analysis of male-female relations; an interrogation of the image; personal and international politics; the existential dilemmas of consumer society. This volume brings together essays by five prominent scholars of French film. They approach Pierrot le fou from the perspectives of image-and-word-play, aesthetics and politics, history, and high- and popular culture. A full filmography and a selection of reviews are included.

Customer Reviews:

Godard's great film!.......2001-11-19

Thank God for university presses that publish books about little known or even unavailable films. Godard's Pierrot le fou (France, 1965) was recently released on DVD, and if any film ever needed footnotes, this is it. Now one can read Cambridge Film Handbooks's Jean-Luc Godard's Pierrot Le Fou, edited by David Wills, and enjoy the book as a supplement to an almost-forgotten masterpiece. Pierrot le fou is a cinematic work that nails the '60s in 110 minutes. The plot is quite simple: A bored man portrayed by ultracool Jean-Paul Belmondo goes to a party with his wife, at which everyone converses in advertising slogans. He leaves and runs off with his baby-sitter, played by the beautiful Anna Karina, and they go on a crime spree. Ridiculous? Well, this is a Godard film. The baby-sitter is named Marianne, and she symbolizes the French republic, as she is consistently clothed in the colors of France. Marianne thinks she is in a movie (which she is) and wants emotion and movement. The Belmondo character, Pierrot, wants to leave civilization, live on an island, and read books -- a character with whom I fully sympathize. He wants to live in words and thoughts, and she wants emotion and action. The film is about role-playing, the nature of cinema and its audience, Vietnam (where the French had difficulties before the Americans did), and the dynamics between reading and action.

The book contains five essays, each focusing on specific aspects of the film. The writings form a critical study, rather than just including gossip about the film shoot and about its participants. The most interesting essay is the last one, "Pierrot le fou and Post New Wave Cinema," by Jill Forbes. The essay focuses on the complexity of Pierrot le fou: Since the characters know they are acting out their dramas in a film, Forbes discusses how this relates to their world in terms of audience. Forbes also writes about Godard's use of the poetry of Arthur Rimbaud, who invented a poetic language "that will be used by all the senses." Godard plays with film genres, such as the musical, and incorporates literature into his cinema as well. Not only are there literary chapters named after Rimbaud's poetry in the film, but his use of color and quotations gives the work layers of meaning. One could argue that his films are really open-ended essays on the nature of language, images, and life. I recommend this book, only as a supplement to this fantastic film, which is a sort of book in its own right.

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Pierrot le fou;: A film (Modern film scripts)
Jean Luc Godard
Manufacturer: Simon and Schuster
ProductGroup: Book
Binding: Unknown Binding
ASIN: 0671204483

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50 books to 1 record

Important, yes, but not terribly watchable.

Highly regarded by some, but somewhat overrrated in my opinion

we meet in eternity - no its just the sea with the sun

Is this the only DVD in print?

Pierrot Le Fou
Jean-Luc Godard
Manufacturer: Ungar Pub Co
ProductGroup: Book
Binding: Paperback

Entertainment | Subjects | Books | Humor | Movies | Music | Performing Arts | Pop Culture | Puzzles & Games | Radio | Sheet Music & Scores | Television
General | Performing Arts | Arts & Photography | Subjects | Books
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ASIN: 0571126162

Customer Reviews:

50 books to 1 record.......2007-05-19

During the year of 1965, Jean-Luc Godard would create three highly acclaimed films: Alphaville, Pierrot le fou, and Masculin, Feminin. What makes this accomplishment even more outstanding is the fact that these three films could not be more different from each other with Alphaville being an Orwellian science fiction film and Masculin, Feminin being a romance with a strong socialist edge. However, amongst these three films it would be the lone color film Pierrot le fou, Peter the Wild, that would garner most critical attention. Having watched all three films myself, I can say at least that Pierrot le fou is indeed the most experimental of the three films and it delves heavier into the potential of film as a medium that the other two, but is it as enjoyable as the other two films? In my opinion, no, it is not a very enjoyable film and it borders on absolute tedium at times.

The film opens with Ferdinand Griffon, Jean-Paul Belmondo, reading in the bathtub while puffing away on his ever present cigarettes. Being forced to attend a party that he does not want to attend, Ferdinand states that he would prefer to stay at home with the children. Yet, because her husband is unemployed, Ferdinand's wife is insistent that he will attend the party. Also, a fellow party patron's niece will look after the children. On their way out, Ferdinand meets Marianne, Anna Karina, and soon is whisked off to the party. The party turns out to be a complete bore with its patrons speaking as if they were commercials. Ferdinand soon flees home and it is at time that we the viewers learn that Ferdinand and Marianne shared a relationship with each other some years before and, as he is giving her a ride home, Ferdinand soon decides to abandon his family. After spending the night with Marianne, Ferdinand sees that there is more to the young, pretty girl than meets the eye when he sees several automatic weapons in her apartment and not to mention a dead man with a pair of scissors sticking out of his neck. Therefore, they begin their lives on the run promising to love each other, but can that truly come to be?

I have watched a handful of Jean-Luc Goddard films now and for the most part my reaction has been quite cool towards them. I respect that they are quite creative and that Godard pushes the boundaries of film. I even like the strong socialist and antiwar groundings within the films, but at some points the films just come off as a bit ludicrous to me or that they were striving so much to become "art" that they ignore entertainment value for the viewer. I am not trying to say that I do not appreciate films that make the viewer think, I really enjoy the Brechtian films of Oshima Nagisa, but at least I want to feel some enjoyment while watching the film instead of feeling my eyes glaze over. I do think this film is important to watch in order to see the progress of the French New Wave, but if you want to simply enjoy a French New Wave film watch a François Truffaut film instead.

Important, yes, but not terribly watchable........2007-05-12

Pierrot le Fou (Jean-Luc Godard, 1965)

I've been going through the hundred best films of all time, as rated by the massive collection of critics' surveys and the like housed at the They Shoot Pictures, Don't They? website, and I've found that most of them deserve (or seem to) the accolades. But there are some movies that make me wonder what all those critics were thinking, and Pierrot le Fou is one of them. Yes, I get that Godard was one of the leading lights of the New Wave in French cinema. But it's kind of like billing Woody Allen as the greatest comic filmmaker of our time; I just don't see the attraction.

The plot of the film starts off simple: Pierrot ("my name is Ferdinand!") (Jean-Paul Belmondo), a man bored with his stultifying life, runs away with his babysitter, Marianne (Anna Karina), an old girlfriend. He soon finds out he got a lot more than he bargained for as the plot gets ever more complex, but paradoxically plays less and less a role in the film as Godard wanders off into pointless sociopolitical posturing. It's an attractive film, competently directed, but barely coherent at best, a thin canvas of movie disguising a rambling political statement. **

Highly regarded by some, but somewhat overrrated in my opinion.......2007-03-01

This 1965 movie by Jean-Luc Godard is considered by some as among his masterpieces. I think, though, most people (with the exception of Godard fans) would find it somewhat overrated. The plot has a couple (Jean-Paul Belmondo and Anna Karina) fleeing Paris in a car for the French Riviera, but as in almost all Godard films the plot matters very little. What matters is the off-the-cuff style of filmmaking, the nonsensical situations the couple has to go through, the droll performances, the musical interludes, the comments on the political situation of the time (Vietnam war included), the movie's take on American genre films. Still, I can't say the movie isn't thought provoking: when I saw it, what crossed my mind is that while the couple are two young adults, in their twenties, they really behave as if they were children. Spoiled by their parents, who wanted to protect them from the horrors they have witnessed in World War II, the children of the 60s were really very immature in their perspective (not that they were not right in many issues, and that thanks to them a more relaxed, less conservative society come about in the west).

we meet in eternity - no its just the sea with the sun.......2007-02-15

Godard's pierrot le fou is one the most successful comedy/tragedy/political/crime-thriller/musicals he ever made. It breaks all the rules, as all his movies do, but plays with such gusto and joie de vivre to keep any audience in their seet untill the end.. It stars the great jean-paul Belmondo who was introduced to us in 'breathless' - this is an equally enchanting film.. Godard's use of color in the widescreen format is very effective (also see 'contempt' it is probably Godard's best color feature).. This is self-concious cinema at its finest.. combining literary and political references with theatrics and chase scenes.. This is a transitional Godard moment - getting evermore political - yet still in his full new wave examination of different cinematic techniques.. It keeps your interest at the same time as challenging your mind (something not all of his films achieved).. This is one of his best..

Is this the only DVD in print?.......2007-01-17

It's great to have this entertaining film in widescreen and on DVD, however the mastering here is terrible. Either it's an old transfer or done on a short budget because the encoding here really is poorly executed. On my television Anna Karina's jawbones looked like they were built of Legos. This film deserves better. Maybe Criterion will come out with a version. If you don't care about the presentation and are just dying to see this film again the money is probably worth it.

Book Description

The second of two practical classroom books on the teaching of music in primary schools, Primary Music: Later Years(7-11 years) combines for the first time an approach based on the centrality of the class teacher's responsibility for music, and working with the demands for subject knowledge and for appropriate progression at Key Stage 1.

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A practical guide-book for teachers working across the 7-11 age-range. It offers more challenge and depth by encouraging teachers to really investigate music with the children and manage music more effectively and with less stress.

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Highly recommended for dedicated chess players

Taming the Sicilian: A Repertoire for White Against the Most Popular Black Opening
Nigel Davies
Manufacturer: Everyman Chess
ProductGroup: Book
Binding: Paperback

Chess | Board Games | Puzzles & Games | Entertainment | Subjects | Books
General | Puzzles & Games | Entertainment | Subjects | Books
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ASIN: 1857443012

Book Description

The Sicilian Defence is Black¿s most ambitious and popular defence to 1 e4. Finding a suitable weapon against it has taxed many a grandmaster¿s brain. Should White dive into the labyrinth of mountainous theory and complications, in which the player who knows the latest theoretical wrinkle is likely to prevail, or should White abstain and instead head for the more tranquil waters of the various Anti-Sicilians on offer? Perhaps the answer lies somewhere in-between! In this book, Grandmaster Nigel Davies tackles the Open Sicilian head on, but still develops an easy-to-use system for White based upon the fianchetto of the king¿s bishop. He arms the readers with an impressive repertoire which enables them to face the Sicilian Defence with renewed confidence.

*Covers all Black¿s possible Sicilian defences
*Ideal for club and tournament players
*Written by an experienced openings expert

Customer Reviews:

Highly recommended for dedicated chess players.......2003-02-07

Accessibly written by chess grandmaster and trainer Nigel Davies, Taming The Sicilian is a highly detailed chess manual showcasing techniques and strategies that players of the White side in a game of chess can utilize against one of the most popular opening moves for the Black side. Numerous technical diagrams and instructions cover variations including the Najdorf, Classical, Scheveningen, Pelikan-Sveshnikov, and more. An excellent guide for advanced chess players looking to sharpen their skills further, Taming The Sicilian is a highly recommended addition to any dedicated chess player's reference shelf.

Book Description

Use this invaluable tool to gain a competitive edge and avert bad investment decisions.

Well-known options strategist and instructor George Fontanills has updated his time-tested and bestselling book, The Options Course. The new edition improves and expands upon the original to help you avoid some common and costly options mistakes. The systematic, step-by-step approach, covers everything from basic concepts to sophisticated techniques and is designed for investors at all levels of experience.

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Use this invaluable tool to gain a competitive edge and avert bad investment decisions. Well-known options strategist and instructor George Fontanills has updated his time-tested and bestselling book, The Options Course. The new edition improves and expands upon the original to help you avoid some common and costly options mistakes. The systematic, step-by-step approach, covers everything from basic concepts to sophisticated techniques and is designed for investors at all levels of experience.

Customer Reviews:

this is crap.......2007-06-18

this is crap, after reading it you won't understand the first thing about options, some readers wrote or suggested that it is good for begginers, it's lie, get some decent books such as Hull's crap. Hull is considered by the way as an introduction!

Great Book for the Options Novice.......2007-03-04

If you're looking for a great book that teaches the novice trader the basics of trading options, then look no further. This book does the best job yet of thoroughly covering the gritty details. In fact, it spends the first 138 pages of its 300 page length doing just that.

I'm not suggesting that a novice can read this book and start expertly trading options. No, this book is a very long way from that. But if you know nothing about the subject then this is one of the best places to start learning. After thoroughly covering what options are, risk profiles, how to spot explosive opportunities, and risk and margin, the author launches into what I found to be the most interesting part of the book; covering the nuts and bolts of delta neutral trading.

Understanding the concept of delta is so important to effectively trading options that no trader should make his or her first trade without spending weeks if not months immersed in the subject until it is thoroughly mastered. Finding trades with a favorable delta is frequently the difference between profit and loss. And learning how to effectively trade delta neutral strategies is frequently the difference between staying in the game and washing out.

This book is easy to read and understand. While I found it a little short on practical application, it does a superb job of teaching the basics. It's an effective tool for the beginner and it should enjoy many years of frequent use.

The Options Course is worth the read.......2006-05-30

I have looked for a book that teaches basic instruction, and that can be used as a reference in the future -- The Options Course fills the bill. I recommend this book if you are interested in trading Options, if you are already a trader that wants explainations of terms, or are already a trader and are interested in Fontanills' strategies. I read all the reviews and noticed many referencing online websites. Be careful with the motivations of these reviewers.

Why I gave George two stars.......2006-04-22

How accurate is George Fontanill's "proven" system? If you're a gambler buying books and courses and then trading real money, never mind, move on. With luck, you'll be a "happy" testimony. Everybody else, give me a percentage. Every professional trader records every market-transaction for tax purposes. Every successful trader keeps score, for example, with a win:loss ratio. When did George create Optionetics? I'll answer that. In the early 90's, and that's over ten years ago. I gave George only two stars, because in all his talk, he is not being fully responsible. I can know all about spreads, but where's the percentage, after taxes and commissions? That is beginning to change now with "accountability" websites like Collective2 where every system signal is tracked in real-time, so customers know exactly how the system has performed in all types of market conditions. The problem is not just with George. In an apparently loosely regulated industry, so many of these investment gurus make claims without providing factual performance statistics, and to me, it is inexcusable, even criminal. Even if you're going to trade somebody else's system, you still have to use your brain. How accurate is Bernie Schaeffer's stuff? Carleton Sheets? Robert Allen? Robert Kyosaki? Ken Roberts? A few "happy" testimonials means nothing to me, when a hundred other beginners might be getting burned.

Need Part II.......2005-12-16

The book "The Options Course" presents some of the technical aspects involved in trading options but does not provide specifics. An example is computing Delta the formula given in the book only yields an approximate result. Also some of the strategies use futures for examples, does that mean that the strategy is to be used for futures only?

The book does cover very well entering into a option trade but fails to provide an exit(when and if necessary) strategy.

It is a good introduction but I hope that the author comes out with Part II.

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