In The World of Peter Greenaway, Leon Steinmetz introduces general audiences to the artwork of Peter Greenaway. Long admired for his films, Greenaway is also a celebrated artist, with his drawings, photography, and paintings appearing in galleries worldwide. Presented in the same format as his personal journals, this book allows us a rare glimpse into the images and vision that give rise to Greenaway's films. Using actual frames from his films, and studies for those films, this volume provides us a unique opportunity to see the bridge that connects the worlds of painting and cinema.

Chock-full of beautiful full-color photos and illustrations, Tough Plants for Texas is as beautiful a book as it is informative! From annuals to vines, each plant is noted for its ability to not just survive, but thrive with minimal care! This easy-to use guide for Texas gardens gives you step-by-step instructions on choosing and caring for more than 150 low-maintenance plants and shrubs that thrive in Texas, including annuals, perennials, vines, shrubs, and trees. Other important gardening basics for maximum results are:

Since the 1960s, British multi-media artist Peter Greenaway has shocked and intrigued audiences with his avant-garde approach to filmmaking and other artistic ventures. From early experimental films to provocative features, Greenaway has deployed strategies associated with structuralist cinema, only to challenge or critique the very limits of that cinema and of film in general. In this collection of essays, scholars from a variety of disciplines explore various postmodern and poststructuralist aspects of Greenaway's films, starting with his early shorts and delving into his feature-length works, including The Draughtman's Contract, The Belly of an Architect, A Zed and Two Noughts, The Cook, the Thief, His Wife and Her Lover, The Baby of M%con, and The Pillow Book. Other artistic productions, including his paintings and installations are also discussed. These essays examine the filmmaker's position within British and avant-garde cinema and his interest in constructing and deconstructing representational systems. In the years since the first edition of this book, Greenaway has enjoyed continued success in creating hybridized media projects for the stage and screen, as evidenced by additional essays for this revised edition. A new chapter addresses how Dutch political events and Dutch art have been crucial in shaping Greenaway's aesthetic, focusing on The Draughtsman's Contract, the 1991 opera Writing to Vermeer, and Nightwatching, the audio-visual installation and 2007 film of the same name, which were inspired by Rembrandt's Night Watch. Also new to this collection is an essay that examines Greenaway's most ambitious endeavor to date, The Tulse Luper Suitcases, which exists as four feature films, multiple websites, an online game, several books and installations, and a number of theatrical events. Peter Greenaway's Postmodern/Poststructuralist Cinema, Revised Edition explores the cultural, historical, and philosophical implications of this hybrid artist whose paintings, drawings, exhibitions, installations, and operatic productions are an intrinsic part of his work in film. This collection of diverse essays, which includes two texts by Greenaway, two interviews with the director, and a revised filmography, will interest students, teachers, critics and lovers of both postmodern art and cinema.

On May 7, 1945, 92 gold bars are discovered in a crashed car at Bolzano, where it is said that no-one can cook a good spaghetti. The watch on the dead driver's wrist stopped at 2:41 a.m., the precise time of the end of the Second World War in Europe. Every gold bar in the crash is made from gold confiscated from the victims of the Third Reich and its allies across Europe, from prisoners of war, gypsies, political enemies, and the mentally and physically handicapped, but mainly from Jews. Each gold bar has a history. Gold relates those 92 histories, along with a postscript of the histories of nine more gold bars that should have been in that crash.

Peter Greenaway has an international reputation as one of the most innovative, stylish and intelligent of contemporary film-makers. His eight feature films, from The Draughtsman's Contract to The Pillow Book, have variously, and sometimes simultaneously, prompted controversy, infamy, acclaim and delight. However, Greenaway is an artist whose work also includes painting; collage; experimental TV; the novel/opera Rosa; and numerous exhibitions/installations, including The Stairs, a continuing series of ten projects in ten cities exploring the basic components of cinema. Being Naked Playing Dead explores the complete oeuvre, but centres firmly on Greenaway's insistence that his is 'a cinema of ideas not plots'. Each film is discussed within a thematic analysis of the full range of Greenaway's output and the wider contexts within which it is conceived. In conclusion there are two extended interviews, making this book essential reading for all Greenaway enthusiasts.

films. --Book Jacket.

Critical Cinema: Beyond the Theory of Practice purges the obstructive line between the making of and the theorising on film, uniting theory and practice in order to move beyond the commercial confines of Hollywood. Opening with an introduction by Bill Nichols, one of the world's leading writers on nonfiction film, this volume features contributions by such prominent authors as Noel Burch, Laura Mulvey, Peter Wollen, Brian Winston and Patrick Fuery. Seminal filmmakers such as Peter Greenaway and Mike Figgis also contribute to the debate, making this book a critical text for students, academics, and independent filmmakers as well as for any reader interested in new perspectives on culture and film.