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The Grand Budapest Hotel and Moonrise Kingdom have made Wes Anderson a filmmaking force. Rushmore and The Royal Tenenbaums have become quotable cult classics. Yet every new Anderson release brings out droves of critics eager to charge him with stylistic excess and self-indulgent eclecticism. Donna Kornhaber approaches Anderson's style as the necessary product of the narrative and thematic concerns that define his body of work. Using Anderson's focus on collecting, Kornhaber situates the director as the curator of his filmic worlds, a prime mover who artfully and conscientiously arranges diverse components into cohesive collections and taxonomies. Anderson peoples each mise-en-scne in his ongoing "Wesworld" with characters orphaned, lost, and out of place amidst a riot of handmade clutter and relics. Within, they seek a wholeness and collective identity they manifestly lack, with their pain expressed via an ordered emotional palette that, despite being muted, cries out for attention. As Kornhaber shows, Anderson's films offer nothing less than a fascinating study in the sensation of belonging--told by characters who possess it the least. Covering Anderson's entire oeuvre and including an interview with the director, Wes Anderson is an entertaining look at one of our most beloved and polarizing filmmakers.

Anderson, Wes --- Motion picture producers and directors --- Anderson, Wes, --- Criticism and interpretation. --- Anderson, Wes, 1969 --- -Filmproducers en -regisseurs --- Kritiek en interpretatie --- Verenigde Staten

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Wes Anderson is considered one of the most important directors of the post-Baby Boom generation, making films such as Rushmore (1998) and The Royal Tenenbaums (2001) in a style so distinctive that his films are often recognizable from a single frame. Through the travelogue The Darjeeling Limited (2007) and the stop-motion animation of Fantastic Mr. Fox (2009), his films examine issues of gender, race, and class through dysfunctional family dynamics, with particular focus on masculinity and male bonding. Anderson's auteur status is enriched by his fascination with Truffaut and the French New Wave, as well as his authorship of every one of his screenplays, drawing on influences as diverse as Mark Twain, J. D. Salinger, Roald Dahl, and Stefan Zweig. Works such as Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014) continue to fascinate with their postmodern, hyper-nostalgic attention to detail. This book explores the filmic and literary influences that have helped make Anderson a major voice in 21st century "indie" culture, and reveals why Wes Anderson is one of the most inventive filmmakers working in cinema today.

Motion picture producers and directors --- Motion picture producers and directors. --- Performing Arts. --- Anderson, Wes, --- Criticism and interpretation. --- Bibel --- United States. --- Anderson, Wes, 1969 --- -Filmproducers en -regisseurs --- Kritiek en interpretatie --- Verenigde Staten

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In Arduous Tasks, Lina N. Insana demonstrates how translation functions as a metaphor for the transmission of Holocaust testimony and broadens the parameters of survivor testimony.

Holocaust --- Vertalen --- Holocaust in de letterkunde. --- Holocaust, Jewish (1939-1945), in literature. --- Juifs --- vertalen. --- sociale aspecten. --- Extermination (1939-1945) dans la littérature. --- Levi, Primo --- kritiek en interpretatie. --- vertalingen --- geschiedenis en kritiek. --- Critique et interprétation. --- Traductions --- Histoire et critique. --- Sociolinguistics --- Translation science --- Thematology --- holocaust --- World history --- anno 1940-1949 --- Criticism and interpretation. --- Translations --- History and criticism. --- Sociolinguïstiek --- Vertaalkunde --- Thematologie --- Levi, Primo, --- Malabaila, Damiano, --- Леви, Примо, --- לוי, פרימו,

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"This is a study of the ways various kinds of injury and trauma affected Ernest Hemingway's life and writing, from the First World War through his suicide in 1961"---www.amazon.com In 1940, Hemingway wrote a preface to Gustav Regler's novel about the Spanish Civil War, The Great Crusade. In those remarks, he described the fragility of soldiers in battle, even when they thought they would win. "There is no man alive today who has not cried at a war if he was at it long enough. Sometimes it is after a battle; sometimes it is when someone that you love is killed; sometimes it is from a great injustice to another; sometimes it is at the disbanding of a corps or a unit that has endured and accomplished together and now will never be together again. But all men at war cry sometimes, from Napoleon, the greatest butcher, down." Born July 21, 1899, Hemingway was a boy fascinated with the tragedies that accompanied all wars, and from the start of World War I in the spring of 1914, he was a conscientiously thorough student of the science of war. He then volunteered to go to the Italian front as a Red Cross worker. There Hemingway was severely wounded a few weeks before his nineteenth birthday. He convalesced in Italian hospitals, fell in love with his American nurse, and returned home - to Illinois and Michigan - to recuperate further. Agnes von Kurowsky's "Dear John" letter reached him in Illinois. As he learned to craft his careful and intense stories, Hemingway suffered a series of physical injuries that marred - and shortened - his life. Head injuries from broken skylights, boxing, car crashes, falls, sports injuries, and plane crashes added to the shrapnel and bullet damage from the Great War. Linda Wagner-Martin's inventory of the writer's woundings - both physical and emotional - provides a detailed background for the brilliant American writer's choices in life: Why did he so seldom return home to Oak Park? Why did he often turn on his apparent friends? Why did he spend long weeks deep-sea fishing, as if to avoid the company of his wives and sons? After he was wounded in the First World War, Hemingway was never a proponent of conflict. Despite being involved in battles of the Spanish Civil War and World War II, Hemingway's hatred of the politics of war - and the loss of life war mandated - was a recurring subject for his writing. As he translated his own physical pain into exquisitely detailed accounts of people caught in the throes of anguish, he proved the depth of the haunting his injuries occasioned. -- from dust jacket.

Hemingway, Ernest, 1899-1961 --- War and literature --- Schrijvers [Amerikaanse ] --- Kritiek en interpretatie --- Biografie --- Hemingway, Ernest, --- Criticism and interpretation. --- Chaiminkouaiē, Ernest, --- Chemingouaiē, Ernest, --- Hai-ming-wei, --- Haimiṅgawe, Aranaisaṭa, --- Haimingwei, Eneisite, --- Haimingwei, Ennasite, --- Haimingwei, Ouneisite, --- Haminghwāy, Arnist, --- Hayminghwāy, Arnist, --- Ḣeminguei̐, E. --- Ḣeminguei̐, Ernest, --- Heminguej, E. --- Heminguej, Ernest, --- Heminguwei, Ānesuto, --- Hemingṿe, Ernesṭ, --- Hemingvej, Ernest, --- Hemingvejs, Ernests, --- Hemingṿey, Ernesṭ, --- Hemingwei, --- Hemingwei, Ŏnesŭtʻŭ, --- Himinghwāy, Arnist, --- Himinghwāy, --- Hīminjwāy, Arnist, --- Kheminguėĭ, Ėrnest, --- Hemingway, Ernest --- Kheminguėĭ, Ėrnest --- Hemingvej, Ernest --- Hemingwei --- Hīminjwāy, Arnist --- Ḣeminguei̐, Ernest --- Heminguej, Ernest --- Hemingṿey, Ernesṭ --- Haminghwāy, Arnist --- Hayminghwāy, Arnis, --- Himinghwāy, Arnist --- Hemingvejs, Ernests --- Hemingṿe, Ernesṭ --- Chemingouaiē, Ernest --- Heminguwei, Ānesuto --- Haimingwei, Eneisite --- Haimingwei, Ouneisite --- Haimingwei, Ennasite --- Hemingwei, Ŏnesŭtʻŭ --- Хемингуэй, Эрнест --- Хемингуэй, Э. М. --- המינגווי, ארנסט --- המינגווי, ארנסט, --- המינגוי, ארנסט --- המינגוי, ארנסט, --- העמינגוועי, ערנעסט --- 海明威, --- E. ヘミングウェイ, --- همنغواي، ارنست --- همينگوى، ارنست --- ヘミングウェイ, アーネスト, --- 헤밍웨이, 어네스트, --- 海明威, 欧内斯特, --- Chaiminkouaiē, Ernest