David Thomson - Böcker

“A marvelous bombshell of a book, by one of our most formidably knowledgeable and insightful writers on film, it is filled with surprises and witty asides. Though Thomson is quick to pounce on the hypocrisies and historical omissions of some of these war movies, there is nothing compromised about his own daredevil judgments. We are in the hands of a master critic/essayist.”—Phillip LopateFrom one of the greatest living writers on film, a magisterial look at a century of battle depicted on screen, and a meditation on the twisted relationship between war and the movies.In The Fatal Alliance the acclaimed film critic David Thomson offers us one of his most provocative books yet—a rich, arresting, and troubling study of that most beloved genre: the war movie. It is not a standard history or survey of war films, although Thomson turns his typically piercing eye to many favorites—from All Quiet on the Western Front to The Bridge on the River Kwai to Saving Private Ryan. But The Fatal Alliance does much more, exploring how war and cinema in the twentieth century became inextricably linked. Movies had only begun to exist by the beginning of World War I, yet in less than a century, had transformed civilian experience of war—and history itself—for millions around the globe. This reality is the moral conundrum at the heart of Thomson’s book. War movies bring both prestige and are so often box office blockbusters; but is there something problematic at how much moviegoers enjoy depictions of violence on a grand scale, such as Apocalypse Now, Black Hawk Down, or even Star Wars? And what does this truth say about us, our culture, and our changing sense of warfare and the past?

Woodbrook is a rare house that gives its name to a small, rural area in Ireland, not far from the old port of Sligo. It has been owned since the seventeenth century by the Anglo-Irish Kirkwoods. In 1932, David Thomson, aged eighteen, went there are a tutor. He stayed for ten years.This memoir, acknowledged as a masterpiece, grew out of two great loves - for Woodbrook and for Phoebe, his pupil. In it he builds up a delicate, lyrical picture of a gentle pre-war society, of Irish history and troubled Anglo-Irish relations, and of a delightful family. Above all, his story reverberates with the enchantment of falling in love and with the desolation of bereavement.

Set in the 1920s, this marvellously sensitive autobiography recreates the varied community of Nairn, with its fishermen and townsfolk, its crofters and its prosperous upper-middle-classes. Nairn has witnessed many of the triumphs and tragedies of Scottish history, and these are recalled with intuitive understanding. But it is also the scene of David Thomson's formative years when he suffered an eye injury which nearly blinded him and shaped his whole future.Winner of the McVitie's Prize and the first NCR Book Award For Non-Fiction

A history of Europe since Napoleon, covering all of the main topics of that period.

David Thomson's 'Have You Seen?' - A Personal Introduction to 1,000 Films is a quirky, idiosyncratic and hugely entertaining look at a century of cinema.This is veteran film writer David Thomson's personal, irreverent, hilarious and utterly original take on the 1,000 films he has most loved - and hated - from Abbott and Costello Meet Frankenstein to Zabriskie Point, from esteemed classics to forgotten curiosities, guilty pleasures to noir treats, horror gems to kitsch disasters. The result is probably the most enjoyable film book you will ever read (and you'll never think about The Sound of Music in the same way again). 'Delightful ... it's like having the most film-literate pal you can imagine sitting beside you in a multiplex' Independent'A joy ... he's incapable of writing a boring sentence' Evening Standard Books of the Year'This book sets the bar. There isn't a more intelligent, insightful and provocative guide to individual movies in the world' Financial Times'Every reader's simple instinct will be to plunge into the heart of it' Sunday Times'A dazzlingly authoritative treat ... crammed with insight and epigram' Observer'Eccentric, brilliant, scholarly, perverse, witty, egocentric and infuriating, sometimes all at once' Philip French'He enrages, exasperates, but never leaves one indifferent' The Times Books of the YearDavid Thomson is, among many other things, author of The New Biographical Dictionary of Film, now in its fourth edition. His recent books include a biography of Nicole Kidman, Fan Tan (a novel written in collaboration with Marlon Brando) and The Whole Equation: A History of Hollywood.

In this triumphant work David Thomson, one of film's greatest living experts and author of The New Biographical Dictionary of Film, tells the enthralling story of the movies and how they have shaped us.Sunday Times, New Statesman, The Times, Guardian, Observer and Independent BOOKS OF THE YEARTaking us around the globe, through time and across multiple media, Thomson tracks the ways in which we were initially enchanted by this mesmerizing imitation of life and let movies - the stories, the stars, the look - show us how to live. But at the same time he shows us how movies, offering a seductive escape from the everyday reality and its responsibilities, have made it possible for us to evade life altogether. The entranced audience has become a model for powerless citizens trying to pursue happiness by sitting quietly in a dark room. Does the big screen take us out into the world, or merely mesmerize us? That is Thomson's question in this great adventure of a book. A passionate feat of storytelling that is vital to anyone trying to make sense of the age of screens - the age that, more than ever, we are living in.

Much more than a word list, the Oxford American Writer's Thesaurus is a browsable source of inspiration as well as an authoritative guide to selecting and using vocabulary. This essential guide for writers provides real-life example sentences and a careful selection of the most relevant synonyms, as well as new usage notes, hints for choosing between similar words, a Word Finder section organized by subject, and a comprehensive language guide. The text is alsopeppered with thought-provoking reflections on favorite (and not-so-favorite) words by noted contemporary writers, including Joshua Ferris, Francine Prose, David Foster Wallace, Zadie Smith, and SimonWinchester, many newly commissioned for this edition.The third edition revises and updates this innovative reference, adding hundreds of new words, senses, and phrases to its more than 300,000 synonyms and 10,000 antonyms. New features in this edition include over 200 literary and humorous quotations highlighting notable usages of words, and a revised graphical word toolkit feature showing common word combinations based on evidence in the Oxford Corpus. There is also a newintroduction by noted language commentator Ben Zimmer.

There are few greater film lovers than David Thomson who, over fifty years, has built a reputation as one of the wisest and most penetrating voices on the art form. But every flicker of light has its shadow. In this profound reckoning, Thomson confronts the dark side of the movies—responsible for creating an alternate reality and fantasyland that has only deepened the isolation and disconnection of our society over the course of a century.Thomson explores the high and low points of film history with his usual brilliant insight—sharp and arresting readings of movies from Metropolis to Rear Window to The Godfather can be found in these pages. But he also shows the ways in which our love of voyeurism and villainy, and the passivity which the movies further engender, have led to a coarsening not just of a medium, but of the larger culture, including our political life. A bracing and polemical book, this is a powerful capstone to a distinguished career.

A provocative, highly engaging essay on the art of pretending on the stage, on screen, and in daily lifeDoes acting matter? David Thomson, one of our most respected and insightful writers on movies and theater, answers this question with intelligence and wit. In this fresh and thought-provoking essay, Thomson tackles this most elusive of subjects, examining the allure of the performing arts for both the artist and the audience member while addressing the paradoxes inherent in acting itself. He reflects on the casting process, on stage versus film acting, and on the cult of celebrity. The art and considerable craft of such gifted artists as Meryl Streep, Laurence Olivier, Vivien Leigh, Marlon Brando, Daniel Day-Lewis, and others are scrupulously appraised here, as are notions of “good” and “bad” acting.  Thomson’s exploration is at once a meditation on and a celebration of a unique and much beloved, often misunderstood, and occasionally derided art form. He argues that acting not only “matters” but is essential and inescapable, as well as dangerous, chronic, transformative, and exhilarating, be it on the theatrical stage, on the movie screen, or as part of our everyday lives.

A renowned movie critic on film’s treatment of one of mankind’s darkest behaviors: murder  “[Thomson’s] analysis of death in Hitchcock movies is gorgeous. His restlessness is palpable. There is an anxiety in this brief, hurried book that suits these political and medical times.”—Lisa Schwarzbaum, New York Times Book Review  Included in the New York Times Book Review’s “Best Books to Give” holiday list, 2020  How many acts of murder have each of us followed on a screen? What does that say about us? Do we remain law-abiding citizens who wouldn’t hurt a fly?  Film historian David Thomson, known for wit and subversiveness, leads us into this very delicate subject. While unpacking classics such as Seven, Kind Hearts and Coronets, Strangers on a Train, The Conformist, The Godfather, and The Shining, he offers a disconcerting sense of how the form of movies makes us accomplices in this sinister narrative process.  By turns seductive and astringent, very serious and suddenly hilarious, Murder and the Movies admits us into what Thomson calls “a warped triangle”: the creator working out a compelling death; the killer doing his and her best; and the entranced reader and spectator trying to cling to life and a proper sense of decency.

Behind the scenes at the legendary Warner Brothers film studio, where four immigrant brothers transformed themselves into the moguls and masters of American fantasyWarner Bros charts the rise of an unpromising film studio from its shaky beginnings in the early twentieth century through its ascent to the pinnacle of Hollywood influence and popularity. The Warner Brothers—Harry, Albert, Sam, and Jack—arrived in America as unschooled Jewish immigrants, yet they founded a studio that became the smartest, toughest, and most radical in all of Hollywood.  David Thomson provides fascinating and original interpretations of Warner Brothers pictures from the pioneering talkie The Jazz Singer through black-and-white musicals, gangster movies, and such dramatic romances as Casablanca, East of Eden, and Bonnie and Clyde. He recounts the storied exploits of the studio’s larger-than-life stars, among them Al Jolson, James Cagney, Bette Davis, Errol Flynn, Humphrey Bogart, James Dean, Doris Day, and Bugs Bunny. The Warner brothers’ cultural impact was so profound, Thomson writes, that their studio became “one of the enterprises that helped us see there might be an American dream out there.”

A deep—and darkly comic—dive into the nature of disasters, and the ways they shape how we think about ourselves in the world  “In this brilliant book, David Thomson tells the story of how we came to make disaster and catastrophe our best friends—how we let terror cocoon and take over our imaginations to avoid seeing the things that really frighten us. Riveting and totally original.”—Adam Curtis, BBC filmmaker and political journalist  “Erudite. . . . Engaging. . . . A cri de coeur about art’s struggle to keep up with reality.”—Kirkus Reviews  Audiences swell with the scale of disaster; humans have always been drawn to the rumors of our own demise. In this searching treatment, noted film historian David Thomson examines iconic disasters, both real and fictional, exposing the slippage between what occurs and what we observe. With reportage, film commentary, speculation, and a liberating sense of humor, Thomson shows how digital culture commodifies disaster and sates our desire to witness chaos while suffering none of its aftereffects.  Ranging from Laurel and Hardy and Battleship Potemkin to Cormac McCarthy’s The Road, and from the epic San Andreas to the intimate Don’t Look Now, Thomson pulls back the curtain to reveal why we love watching disaster unfold—but only if it happens to others.

A leading film critic on the evolving world of streaming media and its impact on society  The city at night under lockdown, a time of plague and anxiety. It is an exciting new age of television, the light that flutters in every cell in the city. But no one seems to be asking: What is the endless stream doing to us?  In Remotely, the most innovative writer on film and screens asks what happened to us as we sought consolation under lockdown by becoming a society of bingeing creatures. From Candid Camera and I Love Lucy to Ozark, Succession, and Chernobyl, David Thomson and his wife, Lucy Gray, wander through shows old and new, trying to pin down the nature and justification for what we call “entertainment.” Funny, mysterious, and warm, at last here is a book that grasps the extent to which television is not just a collection of particular shows—hits and misses—but a weather system in which we are lost pilgrims searching for answers.

Rosebud is a riveting and powerful portrait of the rise and fall of one of Hollywood's greatest innovators - the man who brought us Citizen Kane and then lost himself to obesity, small talk and conjuring tricks on daytime television. With humour, pace and the twists of a mystery story, acclaimed film critic and writer David Thomson probes the essential questions surrounding Welles, exploring the ferocious energy and demonic intellect behind the boy genius. Challenging, idiosyncratic, compelling: Rosebud understands Welles as no other study has, and in a way that leaves the reader breathless, amused and deeply moved by the wonder that was once Orson.

A book that sees Hollywood as an idea, a trick, a religion even that swept the world, a book that knows what the bosses did, and why and how, but which also feels the impact on the mass audiences in the dark auditoriums. There isn't a book that explains - even at a basic level - how the business, the money, of pictures operates. THE WHOLE EQUATION takes the history and describes the grand panorama so that the reader knows how he or she fitted in, along with Bogart, the Marx Brothers and Daryl Zanuck. The business is the neglected aspect of the story, neglected because its truths threaten the alleged magic, the romance of the movies. Yet, the money is the true sexual secret of Hollywood, and David Thomson leaves the reader quite clear, that amid all the hype and pretension, we should always 'follow the money'.

Published in 1984: This is a working text and guide to the context of treatises which have so far not played their full part in the study of the late Middle Ages.

Published in 1984: This is a working text and guide to the context of treatises which have so far not played their full part in the study of the late Middle Ages.

This is Volume XIII of eighteen in a series on Political Sociology. Originally published in 1945, this books makes a systematic survey and analysis, as objective as possible, of the tendencies most likely to govern peace-making. The authors intended to avoid making any specific recommendations of their own as to how the labours of peace-making should be undertaken, and to confine themselves to a study of how they were likely to be undertaken in the light of past experience, contemporary proposals, and the present alignment of political powers in the world. In the process of study, discussion and writing, all three authors arrived at certain more definite conclusions. At the same time, the course of events and the increasingly clear trend of official policies seemed to justify more positive assertions and more constructive suggestions than had at first been thought possible. The book, therefore, takes its present hybrid form: of systematic analysis carried forward to certain statements and even recommendations.

This is Volume XIII of eighteen in a series on Political Sociology. Originally published in 1945, this books makes a systematic survey and analysis, as objective as possible, of the tendencies most likely to govern peace-making. The authors intended to avoid making any specific recommendations of their own as to how the labours of peace-making should be undertaken, and to confine themselves to a study of how they were likely to be undertaken in the light of past experience, contemporary proposals, and the present alignment of political powers in the world. In the process of study, discussion and writing, all three authors arrived at certain more definite conclusions. At the same time, the course of events and the increasingly clear trend of official policies seemed to justify more positive assertions and more constructive suggestions than had at first been thought possible. The book, therefore, takes its present hybrid form: of systematic analysis carried forward to certain statements and even recommendations.

It was made like a television movie, and completed in less than three months. It killed off its star in forty minutes. There was no happy ending. And it offered the most violent scene to date in American film, punctuated by shrieking strings that seared the national consciousness. Nothing like Psycho had existed before the movie industry- even America itself- would never be the same. In The Moment of Psycho , film critic David Thomson situates Psycho in Alfred Hitchcock's career, recreating the mood and time when the seminal film erupted onto film screens worldwide. Thomson shows that Psycho was not just a sensation in film: it altered the very nature of our desires. Sex, violence, and horror took on new life. Psycho , all of a sudden, represented all America wanted from a film- and, as Thomson brilliantly demonstrates, still does.