A Concise History of Kentucky (Google eBook)

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University Press of Kentucky, Sep 12, 2010 - History - 256 pages
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For three decades, no American filmmaker has been as prolificÑor as paradoxicalÑas Woody Allen. From Play It Again, Sam (1972) through Celebrity (1998) and Sweet and Lowdown (1999), Allen has produced an average of one film a year, yet in many of these films Allen reveals a progressively skeptical attitude toward both the value of art and the cultural contributions of artists. In examining AllenÕs filmmaking career, The Reluctant Film Art of Woody Allen demonstrates that his movies often question whether the projected illusions of magicians/artists benefit audience or artists. Other Allen films dramatize the opposed conviction that the consoling, life-redeeming illusions of art are the best solution humanity has devised to the existential dilemma of being a death-foreseeing animal. Peter Bailey demonstrates how AllenÕs films repeatedly revisit and reconfigure this tension between image and reality, art and life, fabrication and factuality, with each film reaching provisional resolutions that a subsequent movie will revise. Merging criticism and biography, Bailey identifies Allen's ambivalent views of the artistic enterprise as a key to understanding his entire filmmaking career. Because of its focus upon filmmaker Sandy BatesÕs conflict between entertaining audiences and confronting them with bleak human actualities, Stardust Memories is a central focus of the book. BaileyÕs examination of AllenÕs art/life dialectic also draws from the off screen drama of AllenÕs very public separation from Mia Farrow, and the book accordingly construes such post-scandal films as Bullets Over Broadway and Mighty Aphrodite as AllenÕs oblique cinematic responses to that tabloid tempest. By illuminating the thematic conflict at the heart of Allen's work, Bailey seeks not only to clarify the aesthetic designs of individual Allen films but to demonstrate how his oeuvre enacts an ongoing debate the screenwriter/director has been conducting with himself between creating cinematic narratives affirming the saving powers of the human imagination and making films acknowledging the irresolvably dark truths of the human condition.
  

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Contents

II
1
III
3
V
4
VI
5
VII
6
IX
7
X
8
XI
9
LVII
96
LVIII
100
LIX
101
LX
103
LXI
109
LXII
111
LXIII
112
LXIV
116

XII
11
XIII
14
XIV
15
XV
17
XVI
20
XVII
21
XVIII
24
XIX
26
XX
27
XXI
30
XXIII
33
XXIV
34
XXV
35
XXVI
40
XXVII
41
XXIX
42
XXXI
43
XXXIII
44
XXXIV
45
XXXV
46
XXXVII
48
XXXVIII
49
XXXIX
50
XL
52
XLI
53
XLII
55
XLIII
56
XLIV
57
XLV
59
XLVI
62
XLVIII
65
XLIX
67
L
68
LI
71
LII
74
LIII
78
LIV
85
LV
91
LVI
92
LXV
117
LXVI
120
LXVII
127
LXVIII
130
LXIX
132
LXX
140
LXXI
143
LXXII
146
LXXIII
149
LXXIV
150
LXXV
154
LXXVI
155
LXXVII
159
LXXVIII
160
LXXIX
161
LXXX
163
LXXXI
165
LXXXII
167
LXXXIII
168
LXXXIV
171
LXXXV
172
LXXXVII
175
LXXXVIII
179
LXXXIX
182
XC
183
XCI
185
XCII
189
XCIII
190
XCIV
192
XCV
194
XCVI
197
XCVII
198
XCVIII
199
XCIX
200
C
203
CI
219
CII
221
Copyright

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About the author (2010)

James C. Klotter is professor of history at Georgetown College and the state historian of Kentucky. He is the author or coauthor of several books, including A New History of Kentucky. Freda C. Klotter has twenty-five years of classroom experience and currently serves as an educational consultant for the nonprofit Kentucky Collaborative for Teaching and Learning.