5 comments about The Official Prisoner Companion.

1. That he had problems with intimacy on the set of his tv show The Prisoner. He never did kiss any pretty lady on the mouth on his tv show. This book testifies by a crewmember of the Prisoner that McGoohan had trouble with intimacy on the set of the show.



2. For thsoe who liked the series and want to know a littlle more about it this book is it. But it is not to much more than a reference book in my opinion and can put you asleep if you are not excited about the subject matter. If you own the TV series on DVD or tape this book is recommended.



3. In this book, it is stated:

   "On a different note, in their "Observations" regarding the episode 'A Change of Mind', the authors suggest that "it is easy to make comparisons between the committee in this episode and McCarthy's House Un-American Activities Committee of the 1950s."
   If the authors knew a little more about the period when The Prisoner was filmed they might have made the rather more relevant observation that the various events in this episode very closely resemble the excesses of the Chinese Cultural Revolution - of the 1960s."

   Even worse than missing the importance of the Chinese Cultural Revolution, the authors show even less knowledge of US history. McCarthy was NOT a member of the House Un-American Activities Committee. He was a Republican Senator from Wisconsin, thus, not even a member of the House.

   HUAC's primary interest in those days seemed to be in rooting out left-wingers from Hollywood. McCarthy made his fame from claims, never established, of as many as 205 Communists or sympathizers (whatever that might mean) in the Army and the State Department. McCarthy never undertook investigations of former spies nor did his tactics, based more on implications of guilt by association or skillfully worded queries of the "do you still beat your wife?" type, that trapped witnesses into unintended and incorrect answers, ever kidnap or imprison those suspected of wrongdoing.

   In the days of the Red Scare, simply implying a person was "soft" on Communism could ruin a career.

   The information on McCarthy and HUAC is readily available. Errors of this sort mean sloppy research by the authors. What, then, of their critique can we trust?




4. The book is written for a fan of the show who has average intelligence; unfortunately, the average fan is brighter than that. Much to much of the obvious and not enough insight. A decent book at best.




5. I suspect that a lot of the shortcomings of this book are due to it being written no less than 20 years after the original airing of the series. Put this together with the fact that the authors are (apparently) Americans, and you can begin to see why the book fails to show any great depth of understanding of what is a very profoundly British TV series.

   At one point, for example, we are told that the Scots, Irish and Welsh Napoleans (in 'The Girl Who was Death') "represent various components of the British Commonwealth". I guess they meant the British Isles, or the United Kingdom - though neither of those groups includes Ireland, of course, only Northern Ireland. And in any case, how does this explain the Yorkshire Napolean?

   On a different note, in their "Observations" regarding the episode 'A Change of Mind', the authors suggest that "it is easy to make comparisons between the committee in this episode and McCarthy's House Un-American Activities Committee of the 1950s."
   If the authors knew a little more about the period when The Prisoner was filmed they might have made the rather more relevant observation that the various events in this episode very closely resemble the excesses of the Chinese Cultural Revolution - of the 1960s.

   I was also less than impressed by the actual episode guides. Most of these are written in a very uninspired style and contain regular, if largely trivial, errors of fact and grammar.
   In the commentary for 'It's Your Funeral', for example, one of the photos shows McGoohan standing beside the helicopter with Eric Portman sitting at the controls and holding a phone. In fact, Number 2 in this episode was played by Andre Van Gyseghem (with Derren Nesbitt as his stand-in), whilst Eric Portman played Number 2 back in episode 4 - 'Free for All'.

   Having said that, the book is certainly not a complete waste of space, containing material from production company handouts, script fragments, etc. As in The Prisoner itself, the reader simply needs to be careful about sorting fact (official material) from fiction.

   Be seeing you 8¬)

2 comments about An Introduction to World Cinema, <I>2d ed.</I>.

1. Aristides Gazetas has managed to cram an insightful and relatively comprehensive history and analysis of world cinema between the covers of a single volume--no small feat. There are lacunae. The films surveyed tend to be European and American (inclusive of both the north and the south), and Asian and Indian cinema are short-changed. But such gaps are perhaps inevitable in a book that seeks to cover a great deal of ground.
   
   What Gazetas does, he does well. He begins with a survey of silent films, with an especially good chapter on D.W. Griffith, and moves on to consider movements such as French avant-garde cinema, the Hollywood phenomenon in all its stages, Italian neorealism, symbolist traditions (particularly Bergman and Bunuel), French New Wave, and postwar German and Italian cinema. He has a rather sketchy chapter on post-colonial narratives, and for this second edition he's added a couple of chapters: one on terrorism and cinema (which is in large part a recycling of the first edition's discussion of von Trotta's "Marianne and Juliane") and one on recent Canadian films.
   
   Throughout, Gazetas stresses that cinema is what the philosopher Wittgenstein would've called a "life form": a living phenomenon which arises from a particular historical and cultural context and which in turn influences the context that births it.* In a significant way, says Gazetas, contemporary life has been "cinematized." Cinematic images, metaphors, and frameworks have become a part of daily life and serve in part as filters through which we read and construct reality. So reflecting on world cinema isn't only an aesthetic or sociological enterprise. It's also a postmodern metaphysical one.
   
   Gazetas' book is a good place to begin for any serious student of film. It's well-written, cogently organized, loaded with stills, and features six intriguing guest essays (all of the are good; but for my money, the most intriguing is Andre Bazin's "The Evolution of the Language of Cinema"). When you read the book, be sure to have a pencil and paper handy to jot down the titles of all the films Gazetas' text will make you want to watch.
   _________
   * Gazetas doesn't actually refer to Wittgenstein, but it seems to me that his understanding of cinema is compatible with the notion of "life form."



2. Few mass mediums have as wide spread and enduringly influential cultural impact as the movies. Written by playwright, director, and teacher of 30 years' experience Aristides Gazetas, An Introduction to World Cinema is now in an updated second edition. A scholarly, college-level textbook concerning the global history of film as an art form, as well as an analysis of its effect on society and politics, An Introduction to World Cinema chronologically covers major developments in film worldwide from its early beginnings to the modern day. A handful of black-and-white photographs and an index round out this excellent general primer. "During the postwar years, Kurosawa saw the national recovery of Japan as a moment in history when his own cinematic voice could respond to the new political and social climate. He attempted a didactic cinema that would express his own thematic concerns about human moral responsibility to others and the emotional desire for power. Kurosawa's heroes combat the ethical and psychological dilemmas that influence their beliefs and actions."

2 comments about George Tsypin Opera Factory: Building in the Black Void.

1. This is a splendid book that makes one hunger for the stage productions depicted. Photographs show a production style that is illuminating, rich, emotional, focused and engaging, and most importantly, which takes in the whole world-view through the prism of the work being performed. One cannot escape such designs nor divorce them from the world in which we live. The soaring yet tortured set for West Side Story (on, of all places, the Bregenz Festival floating stage on Lake Constanze) is a prime example of scenery that grabs you and makes contemporary the tragedy about to unfold. Paradoxically, it creates intimacy, through its monumentality, in a wide-open outdoor setting which could easily have dissipated the emotional force of the play. Mr. Tsypin demonstrates how to conquer ungainly space to let the musical sing with its own voice. And that anxious voice, Mr. Tsypin, a New Yorker by adoption reminds us, harks back not only to Romeo and Juliet, the Jets and the Sharks, but to 9/11, now as much a part of the New York collective unconscious as Jerome Robbins' initial conceit was in its time. Similar connections although to different realities and in different terms can be made about his orchestra placement and the swirling ramp in the Amsterdam Ring (pace the dramatically relevant circular ramps in the Schneider-Siemssen/Karajan Salzburg/Met Rings of another generation). The stage imagery is always connected to some emotional reality within our experience. These are but two examples of the several productions discussed. The riches portrayed in the photographs are many, and make one hungry to see the actual productions. Mr. Tsypin is keenly aware that opera (theatre) design, even if thoroughly "plugged-in" to what is contemporarily or mythically relevant, stands not alone, but, with direction and musical realization, to create a whole greater than the sum of its parts. Some pictures are of design miniatures whereas others are of actual productions. This raises my only reservation about the book: I think it is a bit small. Larger plates would have better conveyed the scale of the designer's work, particularly when actual production photographs are used. Photographs are all excellently reproduced in vibrant colors which (I hope) replicate accurately the nuances of stage lighting.
   
   It appears Mr. Tsypin has defined the direction of theatre/opera design for our time, much as Wieland Wagner did for his, as did, in their very different ways, Jean-Pierre Ponnelle and Robert Wilson later on (it is informative to see this book juxtaposed to the Quadri, Bertoni, Stearns book on Robert Wilson). We have certainly moved on. The text including an essay by Julie Taymor who collaborated with Tsypin in the Met's Zauberflote, is illuminating: one can actually see realization of ideas in production photographs.
   
   Though on one level this book is art-by-approximation in that there is no substitute for actual performance, it also can stand alone, as a primer on influential, arguably seminal, contemporary ideas about stage design demonstrated by illustrations from instances in which those ideas were realized.



2. Believe it or not, I bought this book because of my growing interest in film. To me, one cannot divorce theatrical design from movie set design; or for that matter painting or sculpture. The fact is that I find in Tsypin the same inspiration that I discovered in the work of Antonio Gaudi... Yes, an architect even. But, what an exceptional architect! So is true of Tsypin; he's not your typical set designer. Tsypin is another fine example of a complete artist. Like Gaudi, he cannot be simply categorized under one title; he is many things to the craft of designing for the opera.
   
   The more I encounter such unique talents, the more I realize the real value of the arts to transcend all manner of professions. Tsypin has offered opera enthusiasts a new perspective and appeal through his designs. He is aided by other highly talented artists, which collaboration comprise a tour de force that is evidenced by the fantastic productions they've put together.
   
   I've not been fortunate enough to have attended a Tsypin production and can only imagine the impact that such an experience would have on me, seeing it all in the flesh. But one can still appreciate the exuberant creativity, focused power, and captivating scale of Tsypin's work from this publication.
   
   So, if you're into theater then this is a no-brainer. Yet, if you love art and need a "whack on the head" to inspire you to think outside the box then get this book!

No comments about The Two Gentlemen of Verona (Folger Shakespeare Library).

1 comments about Stages: Creative Ideas For Teaching Drama.

1. I used Stages to teach a 7th grade drama class. The variety of stage games got the class ready for each day's assignment. I found it to be very helpful.

2 comments about Three By Tennessee.

1. I hope to read this one many times. Each time will generate a new insight; a new revelation. The multi-layers of the human condition are all here in their raw glory. Williams could see well beyond the horizon from the atmospheric veranda at the Costa Verde.
   
   Fantastic!



2. It's amazing how well the works of Mr. Williams have held up after all these years. Then again, when you write classics that's what they're supposed to do.

   While all these plays are great, NIGHT OF THE IGUANA is by far his best. My favorite line: "Oh,God, can we please stop now." I'm paraphrasing, but you get the idea.

   But the most remarkable thing about Mr. William's plays are that, while they almost always deal with the south, decay, decadence, incredible insight into the human condition, and graphic and moving looks into the human heart, they are all completely different. How much this man must have lived to have produced this varied and complex a body of work.

   If you're a fan of Southern literature, and especially Tennessee Williams, please check out some other "finds:" OTHER VOICES, OTHER ROOMS by Capote, BARK OF THE DOGWOOD by McCrae, and AVA'S MAN by Bragg.

1 comments about Actor's Choice: Monologues for Teens (Actor's Choice).

1. 
   This volume of highly entertaining monologues is gleaned from previously produced one-act and full-length plays allowing for full characters with interesting stories.
   
   The book is organized well with monologues divided by gender including a section with monologues that would work with either gender. Pieces range from one to five minutes in length and cover a wide range of emotions. Characters run the gamut from historical to modern, literary to supernatural. While the age range of characters is 5-18, most of the characters are written as straight Caucasians. Dialogue in the book is realistic giving the teen actors opportunity to use strong voices.
   
   This is an excellent monologue book for middle and high school students with applications for competition as well as use in drama, speech, or English classes. Drama instructors can also get an idea of tone and pace of the plays from which these pieces come, making it easier to select a school play.

5 comments about The Sound of Music Companion.

1. I bought this book for my daughter who is a Sound of Music affectionado. She loved the book and all the background materials provided.



2. The Sound of Music Companion by Laurence Malson, Andrew Lloyd Webber should be owned by all who enjoyed the movie.
   
   
   Thanks



3. This is a wonderful book for THE SOUND OF MUSIC enthusiast. Lots of great background information and photographs. Thank you.



4. Wonderful! Very complete compilation of many sources regarding the Sound of Music. Covers not only the movie, but also the stageplay, the history behind the script and music, and the history of the Von Trapps themselves. The pictures are absolutely beatiful! There are stills from the movie, from the original Broadway cast, from many Broadway revivals, as well as many behind the scenes shots. This is a must have for anybody who loves the story of the Sound of Music.



5. Lawrence Maslon should be thanked and congratulated for offering a concise and informative Sound of Music book. Although there have been a few Sound of Music books written in the past, this book is probably the first of its kind to tell the story in a concise manner. The Hirsch book on the film and the reissued Max Wilk book on the stage show were great books in their own right, but I think this book tops them all.
   
   Although the numerous photos are the draw of this coffee-table book, a coffee-table book should offer much more than pretty photographs. For this it certainly delivers. His meticulously researched, well-written text tells us the whole Sound of Music story from Maria's birth to the first Austrian stage production in 2005. This book covers all important stops in the history of SOM up till now, and does not dwell too long on any one time period. An added treat is the inclusion of song lyrics and commentaries on the songs, explaining how they were written and what role they played in the musical. I admit there are a few typo errors in the text, but this well-researched book is jam-packed with facts of the musical. You could literally dip your teeth into it and come out a Sound of Music junkie. I do wish there were also lyrics and commentaries for I Have Confidence, So Long, Farewell and also The Lonely Goatherd.
   
   In short, a really great Sound of Music book that makes a splendidd addition to any Sound of Music collection, except that the print tends to be a little too small for the size of the book. Otherwise, a really wonderful book from cover to cover, and a seminal work in the entire world of this well-loved musical. I think this is a book that deserves to be in print forever.

No comments about Decision-Making Group Interaction: Achieving Quality (4th Edition).

5 comments about Hard Core: Power, Pleasure, and the "Frenzy of the Visible", Expanded edition.

1. Hardcores author like to use big words and confusing dialog to get her point across. This is a good book if you can get through all the muddle and crap to get to her point. The book definetly reads like a college textbook and it does get tediouse at times. A good book if you have patience



2. Williams' claim is that all porn is not the same, but her book title is very specific which would lead one to believe she will make claims about only hard core and not about the attendant debates over all of porn's place in society.
   
   You have to be suspicious when the majority of reviewers of an academic book have not graduated high school. I can barely get my university students to read academic writing.



3. The writing is jagged, superfluous and constantly filled with statements on what the author is intending to say in the book without actually saying it. This book is boring, hard to get through and organized in a questionable fashion. Unless you need to read it for a college course I strongly recommend against it. Frankly I don't understand the other reviews on this page praising the book.



4. This is an easy to read, comprehensive analysis of visual pornography. Williams is thorough and openminded, and clearly shows that this isn't a homogenous and stereotypical genre. On the contrary, she maintains that all trends visible in other types of movies exist in pornography as well. An interesting read.



5. I should probably look more closely at the covers of the books that I am ordering online. Any reasonable individual might naturally assume a book entitled "Hard Core" would contain information regarding the apple harvesting industry; however, such is most clearly not the case with Doctor William's book.

   Despite the initial mix-up, I found this work to be quite titilating. Prior to reading Hard Core, I was only familiar with pornographic films (or "pornos") as an avid viewer. Hubby Rick and I now devote a significant amount of money and time on pornos in the hopes that we might one day fully appreciate, as does Linda Williams, the pornographic film. And our marriage has never been better!