Largely shut out of American theaters since the 1920s; foreign films such as Open City; Bicycle Thief; Rashomon; The Seventh Seal; Breathless; La Dolce Vita and Lrsquo;Avventura played after World War II in a growing number of art houses around the country and created a small but influential art film market devoted to the acquisition; distribution; and exhibition of foreign-language and English-language films produced abroad. Nurtured by successive waves of imports from Italy; Great Britain; France; Sweden; Japan; and the Soviet Bloc; the renaissance was kick-started by independent distributors working out of New York; by the 1960s; however; the market had been subsumed by Hollywood. From Roberto Rossellinirsquo;s Open City in 1946 to Bernardo Bertoluccirsquo;s Last Tango in Paris in 1973; Tino Balio tracks the critical reception in the press of such filmmakers as Franccedil;ois Truffaut; Jean-Luc Godard; Federico Fellini; Michelangelo Antonioni; Tony Richardson; Ingmar Bergman; Akira Kurosawa; Luis Buntilde;uel; Satyajit Ray; and Milos Forman. Their releases paled in comparison to Hollywood fare at the box office; but their impact on American film culture was enormous. The reception accorded to art house cinema attacked motion picture censorship; promoted the director as auteur; and celebrated film as an international art. Championing the cause was the new ldquo;cinephilerdquo; generation; which was mostly made up of college students under thirty. The fashion for foreign films depended in part on their frankness about sex. When Hollywood abolished the Production Code in the late 1960s; American-made films began to treat adult themes with maturity and candor. In this new environment; foreign films lost their cachet and the art film market went into decline.
#807134 in eBooks 2004-05-13 2016-06-27File Name: B004HO5820
Review
1 of 1 people found the following review helpful. Had I known. I would not have bought.By PhilDisappointing. The publisher should show more of the book in the "Look Inside" part of this listing and it would likely not get this negative review. because I would not have bought this book. The books text explaining the music theory appears to be quite good. but there are plenty of better. general music books that do this too. This book is probably over my head. But the biggest problem I have is the impractical chord charting. For example. I knew I would be in trouble when on page 14 the cmaj7 chord was charted on the G string with a C at fret 5. and spanned to the D string with a B on fret 9. Another example is on page 21 with a Dm7 chord spanning fret 8 to 12. Or how bout an Fmaj7 stretch from F on fret 1 to E fret 5 on the second string???? Did a guitarist write this book? I know the point of the book is to substitute chords with other embellished chords. but it would have been helpful if the author used his expertise to make the chords playable by mere mortals. If I use this book. I will probably have to substitute chord fingerings for the ones suggested by the author - a real pain.3 of 3 people found the following review helpful. Awesome BookBy CaseyI bought this book to spice up my playing and further advance what little I had known about the complex study of chord substitution. I was familiar with diatonic substitution. But chromatic was the one I needed to expand my knowledge on. And this book does a great job of explaining how it works and why it works.i havent finished reading this book but so far I have come across a few minor typos. Other than that. this book is a must have for any serious guitarist3 of 3 people found the following review helpful. jazz masters...cord substitutionBy PM fan......If your ready to start expanding your cord substitution knowledge then you have found a good book.You may know most of this stuff. but its laid out well and a great review...The only thing that didnt work for me was most of the musical examples..I use an alternative tuning and I just dont use the barcords and open strings as much as some players...All and all a good book...
