Some people are willing to take good care of their shades and pay more for style, excellent build quality, or other bonuses, so we also tested some higher-quality pairs, and for those we set our price cap at $70. Value: After speaking to people who tended to break or lose their sunglasses, we decided that a good pair of cheap sunglasses should meet all our other criteria for less than $30.When you shop for sunglasses, always make sure to choose lenses with 99% or 100% UV protection or UV400 labeling (“UV400” means that the glasses block all light rays with wavelengths shorter than 400 nanometers, which is the cutoff for UV light). Goel, MD, told us, when you use lenses without UV protection, you end up allowing more damaging UV rays to enter your eyes than if you were wearing no sunglasses at all, and you leave your eyes vulnerable to a slew of nasty ailments (more on that in the UV protection section). 13–Dec, 23.” Smithsonian Institution Archives of American Art. “Oral History Interview with Walker Evans, 1971, Oct. “Creative Use of the Motion Picture.” Educational Theatre Journal, 2 (2): 142–47. “Walter Reisch: The Musical Writer.” Journal of Screenwriting 10 (3): 295–306. USA: Act III Communications, Buttercup Films, The Princess Bride Ltd. ![]() Conversations at the American Film Institute with the Great Moviemakers: The Next Generation. ![]() Jackson, MS: University of Mississippi Press. Written by Clyde Bruckman, Jean Havez, and Joseph A. Modernism and Time: The Logic of Abundance in Literature, Science, and Culture 1880–1930. “The Pragmatic Modernist: William Faulkner’s Craft and Hollywood’s Networks of Production.” Journal of Screenwriting 5 (2): 239–57. “The Human Experience of Time and Narrative.” Research in Phenomenology 9: 17–34. 1: The Earliest Notations to the Sixteen Century. “Recreational Terror: Postmodern Elements of the Contemporary Horror Film.” Journal of Film and Video 48 (1–2): 17–31. “Present Tense: Frank O’Hara at the Movies.” Film Comment, 2 May. Chicago and London: The University of Chicago Press. Nelson, Robert S., and Richard Shiff, eds. “The Cinema According to James Agee.” New England Review 35 (2): 100–15. Berkeley, CA: University of California Press. An Invention Without a Future: Essays on Cinema. “The Case of the Inappropriate Alarm Clock (Part 4).” Opinionator. PhD diss., Royal Holloway–University of London. Writing Pictures: The Screenplay as a Form of Literary Modernism. “After the Typewriter: The Screenplay in a Digital Era.” Journal of Screenwriting 1 (1): 11–25. “Film and Modernist Literature.” Études britanniques contemporaines 50. That’s Too Bad.” Los Angeles Times, 6 August. ![]() Screenplay by Jacques Viot and Jacques Prévert. Written by Jacques Prévert and Jean Renoir. Cunningham Films, The Night Co., Lobster Enterprises. “The Virgin Victim: Reimagining a Medieval Folk Ballad in The Virgin Spring and The Last House on the Left.” In Folklore/Cinema Book Subtitle: Popular Film as Vernacular Culture, edited by Sharon R. The Modernist Screenplay: Experimental Writing for Silent Film. “The Screenplay/Film Relationship Bifurcated: Reading Carl Mayer’s Sylvester (1924).” Journal of Screenwriting 9 (1): 25–39. Directed by James Agee, Helen Levitt, and Janice Loeb. “Lecture: Radio City Music Hall, New York City (30/Mar/1939).” MoMA. Jackson, MS: University Press of Mississippi. ![]() “Morelli, Freud and Sherlock Holmes: Clues and Scientific Method.” History Workshop 9 (Spring): 5–36. New York: Wallflower Press/Columbia University Press. “‘Leaping Broken Narration’: Ballads, Oral Storytelling and the Cinema.” In Storytelling in World Cinemas, 1: Forms, edited by Lina Khatib, 71–88. “Does One Page of a Film Script Really Equal One Minute of Screentime?” Stephen Follows, March 8. USA: American Film Institute, Libra Films.įollows, Stephen. Accessed 25 January 2022.Įisenstein, Sergei. “The Great Hollywood Screenwriter Who Hated Hollywood.” The New Yorker, 4 February. “The Man in Black: The Night of the Hunter (1955).” Senses of Cinema. USA: Campanile Productions, George Roy Hill-Paul Monash Production, Newman-Foreman Company, Estudios Churubusco Azteca S.A.Ĭraven, Wes. New York: Hill and Wang.īutch Cassidy and the Sundance Kid. Brecht on Theatre: The Development of an Aesthetic. Detroit: Wayne State University Press.īrecht, Bertolt, and John Willett. Script Culture and the American Screenplay. New York: Simon and Schuster.īoon, Kevin Alexander. The Work of Art in the Age of Mechanical Reproduction. Cambridge, Mass: The Riverside Press.īenjamin, Walter.
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