{"title":"At the movies","description":"","products":[{"product_id":"last-movies","title":"Last Movies","description":"\u003cp\u003eStanley Schtinter\u003c\/p\u003e\n\u003cp\u003eA publication, durational artwork, and moving-image experience, Stanley Schtinter’s debut collection, \u003cem\u003eLast Movies\u003c\/em\u003e, is an alternative account of the first century of cinema according to the films watched by a constellation of its most notable stars shortly before (or at the time of) their deaths. An extensive and exhaustive research project—a holy book of celluloid spiritualism and old canards—Schtinter questions and reconfigures common knowledge to recast the historic column inches of cinema’s mythological hearsay into a thousand-yard stare.\u003c\/p\u003e\n\u003cp\u003eVia a series of interlinked vignettes, here we’ve a book in which \u003cem\u003eManhattan Melodrama\u003c\/em\u003e, directed by W.S. Van Dyke and George Cukor, is seen by American gangster John Dillinger, only for him to be gunned down by federal agents upon leaving the cinema. In which George Cukor watches \u003cem\u003eThe Graduate\u003c\/em\u003e and dies thereafter. In which Bette Davis—given her break by Cukor—watches herself in \u003cem\u003eWaterloo Bridge\u003c\/em\u003e (the 1940 remake Cukor had been meant to direct), before travelling to France and failing to make it back to Hollywood. In which Rainer Werner Fassbinder watches Bette Davis in Michael Curtiz’s \u003cem\u003e20,000 Years in Sing Sing\u003c\/em\u003e, and suffers the stroke that kills him. In which John F. Kennedy watches \u003cem\u003eFrom Russia with Love\u003c\/em\u003e at a private ‘casa-blanca’ screening prior to the presidential motorcade reaching Dealey Plaza; in which Burt Topper’s \u003cem\u003eWar is Hell\u003c\/em\u003e exists only in a fifteen-minute cut, considering this is as much as Lee Harvey Oswald would have seen at the Texas Theatre in the wake of JFK’s killing.\u003c\/p\u003e\n\u003cp\u003eIncluding a foreword from Erika Balsom—an ‘intermission’ by Bill Drummond—and an afterword by Nicole Brenez, Schtinter's \u003cem\u003eLast Movies\u003c\/em\u003e is a love letter to those that’ve lived (and died) amidst the patina and glow of cinema’s counterpoint to life. Like Hermione Lee ‘at the movies,’ and redolent of the works of Kenneth Anger, the collection antagonises the possibility of survival in an age of extremity and extinction only to underline the degree of accident involved in a culture’s relationship with posterity.\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":47264169623882,"sku":"","price":22.5,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/Unknown.jpg?v=1700166163"},{"product_id":"spoilers","title":"Spoilers","description":"\u003cp\u003eMarie Buck \u0026amp; Matthew Walker\u003c\/p\u003e\n\u003cp class=\"font-11em AlignLeft\"\u003e\u003cspan style=\"color: #000000; font-weight: 100;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMarie Buck and Matthew Walker’s \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003eSpoilers\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a book about movies: about watching movies and talking about movies, about being in the dark, alone and together, and about life as a movie and movies as ways of understanding life. Set against the early days of the pandemic, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003eSpoilers\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-weight: 400;\"\u003e charts the growing intimacy of its two speakers, using movies as aids to memory and as ways of marking time—\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Near the beginning, we begin to discuss movies.”\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-weight: 400;\"\u003e The speakers rediscover and relate formative experiences in the feel of a VHS cassette and the mystery of the projection booth, in the frustrations of digital playback glitches and the solitude of solo screenings. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-11em AlignLeft\"\u003e\u003cspan style=\"color: #000000; font-weight: 100;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eThrough both glancing references and longer meditations, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003eSpoilers\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-weight: 400;\"\u003e engages an expansive array of filmmakers and films—among them \u003c\/span\u003eBéla Tarr, William Greaves, \u003cem\u003eMary Poppins\u003c\/em\u003e, \u003cem\u003eThe Exorcist\u003c\/em\u003e, Jean Painlevé, Claire Denis, \u003cem\u003eThe Notebook\u003c\/em\u003e\u003cspan style=\"font-weight: 400;\"\u003e—that underscore moments in the narrators’ lives both transformative and mundane. Past and present movie viewings constellate into an experimental, braided memoir preoccupied with sociality and isolation, memory and loss, God and death. At the project’s center is a consideration of the act of witnessing: movies as witness; relationships as witnessing and being witnessed by another person; the impossibility of ever fully knowing another’s embodied experience. By turns confessional, epistolary, dreamlike, and didactic—often funny and always kind—\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003eSpoilers\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-weight: 400;\"\u003e affords us new ways of thinking about how we use works of art to be together even when we’re alone.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":49359359967562,"sku":"","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/Screenshot2024-08-17at12.51.54.png?v=1728336854"},{"product_id":"a-movie","title":"A Movie","description":"\u003cp\u003eCourtney Bush\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Movie\u003c\/em\u003e, a book-length poem written in sentences, explores the ways movies are woven into the fabric of a life, as cultural products, as objects of intimacy, as social touchstones, as an ideal, as shorthand for certain kinds of experience, while also telling the story of the poet’s production of an eighteen-minute vampire movie.\u003c\/p\u003e\n\u003cp\u003e'In \u003cem\u003eA Movie\u003c\/em\u003e, Courtney Bush presents us with a screen upon which we can view her virtuosic intelligence, pathos and wit, heart and ear in action. The result, \u003cem\u003eA Movie\u003c\/em\u003e, helps us understand that movies really are actually everything. I mean, really, everything! Movies are the magical invocations to a changed and better life. They’re also products of impromptu corporations’ intent on capitalizing upon our innermost signatures of feeling. They’re projected on the universe’s biggest screens and they’re on in the background while we’re doing something, anything, else. But above all, movies are things that we make, in the basement, in the classroom, in the studio and the streets. Like poetry they are the things we do with our friends. I left the theater of \u003cem\u003eA Movie\u003c\/em\u003e with wet and salty cheeks—tears of celebration of what this book has taught us and tears of gratitude for giving me the urgent feeling that I must immediately deliver my life kinetically into poetry—the highest compliment I can give.' – Brandon Brown\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":49776281518410,"sku":"","price":22.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/1735229317-900.jpg?v=1735388102"}],"url":"https:\/\/boekhandelperdu.nl\/en\/collections\/at-the-movies.oembed","provider":"Boekhandel Perdu","version":"1.0","type":"link"}