New paperback edition of this lucid analysis of one of cinema's most subtle, mysterious and metaphysical exponents of film. An indispensable guide to the career and life of one of the greatest filmmakers in history, this will be essential reading for film students and anyone with an interest in Kieslowski's work. Illustrated throughout with b & w photographs. 'If you are interested in this remarkable filmmaker, there could be no better book on the subject than this one' - Peter Bogdanovich

Taylor Edwards family might not be that close - everyone is a little too busy and overscheduled, but for the most part, they get along just fine. Then Taylor's dad gets some devastating news, and her parents decide that the family will spend on last summer together at their old lake house in the Pcocono Mountains. Crammed into a place much smaller than they are used to, they begin to get to know each other again, but as the summer progresses they're more aware than ever that they're battling a ticking clock. And as Taylor tries to deal with the drama at home, she is faced with the fact that the friends she thought she'd left behind haven't actually gone anywhere. Her former summer best friend is still living across the lake and still as mad with Taylor as she was five years ago, and her first boyfriend has moved in next door… but he's much cuter at seventeen than he was at twelve. Can one summer be enough time to get a second chance - with family, friends, and love?

A Moving Story of Redemption and Second Chances Jep Robertson, the youngest son of Duck Commander Phil Robertson, and his wife, Jessica, open up about their personal trials, their early years together, and the challenges that might have destroyed them both had the grace of God not intervened. Jep describes being molested as a child and his reluctance to tell anyone until only a few years ago, his downward spiral into drug and alcohol abuse, and the eventual intervention of his family. Jessica shares about the difficult failure of her first marriage while still a teenager and the hurt that came along with it, much of it from the church. Her insecurities spun out of control as she wondered whether she would ever be good enough or pretty enough. This book is their love story but, more importantly, their love story for God. “We are desperate to let people know that no matter what you’ve done; no matter what you’ve lived through, you can come out of it. You can be washed clean. You are redeemed."

In this first study in English of a master of Polish cinema, Annette Insdorf explores Has’s thirteen feature films with the same deep insight of her groundbreaking book on Krzysztof Kieslowski, Double Lives, Second Chances (Northwestern, 2013). Wojciech Has’s films are still less known outside of his native Poland than those of his countrymen Andrzej Wajda, Krzysztof Zanussi, and Krzysztof Kieslowski. Yet thanks to his singular vision, many critics rank Has among the masters of world cinema. Some of his movies have developed a cult following, notably The Saragossa Manuscript, the favorite film of the Grateful Dead’s Jerry Garcia, which has been praised by directors such as Luis Buñuel, Francis Ford Coppola, and Roman Polanski. Has’s films reveal the inner lives of his characters, which he portrays by giving free rein to his own wildly creative imagination. In addition toThe Saragossa Manuscript, his diverse and innovative filmography includes The Hourglass Sanatorium, a vividly surreal depiction of Hassidic life in Poland between the world wars; The Noose, a stark poetic drama about a lucid alcoholic who knows he will not be able to kick the habit; and How to Be Loved, in which an actress remembers her wartime past. Has made disparate but formally striking movies infused with European strains of existentialism and the avant-garde. With many of his films being restored and rereleased, new generations of film lovers are discovering his artistic genius. Intimations: The Cinema of Wojciech Has is the definitive guide in English to his work.

This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship. It explores the concepts of duration and rhythm, resonance and uncertainty, affect, sense and texture, to bring a fresh pers

A great movie’s first few minutes provide the key to the rest of the film. Like the opening paragraphs of a novel, they draw the viewer in, setting up the thematic concerns and stylistic approach that will be developed over the course of the narrative. A strong opening sequence leads the viewer to trust the filmmakers. Other times, opening shots are intentionally misleading as they invite alert, active participation with the film. In Cinematic Overtures, Annette Insdorf discusses the opening sequence so that viewers turn first impressions into deeper understanding of cinematic technique. From Joe Gillis’s voice-over in Sunset Boulevard as he lies dead in a swimming pool to the hallucinatory opening of Apocalypse Now, from the stream-of-consciousness montage as found in Hiroshima, mon amour to the slowly unfolding beginning of Schindler’s List, Cinematic Overtures analyzes opening shots from a range of Hollywood as well as international films. Insdorf pays close attention to how the viewer makes sense of these scenes and the cinematic world they are about to enter. Including dozens of frame enlargements that illustrate the strategies of opening scenes, Insdorf also examines how films explore and sometimes critique the power of the camera’s gaze. Along with analyses of opening scenes, the book offers a series of revelatory and surprising readings of individual films by some of the leading directors of the past seventy-five years. Erudite but accessible, Cinematic Overtures will lead film scholars and ardent movie fans alike to greater attentiveness to those fleeting opening moments.