03460nam 2200625Ia 450 991078457310332120230607221119.09780191539091(electronic book)1-280-53435-497866105343570-19-153909-00-19-534706-41-60256-685-2(CKB)1000000000362976(StDuBDS)AH24083055(SSID)ssj0000105581(PQKBManifestationID)12017886(PQKBTitleCode)TC0000105581(PQKBWorkID)10105277(PQKB)11572859(MiAaPQ)EBC279425(Au-PeEL)EBL279425(CaPaEBR)ebr10142493(CaONFJC)MIL53435(OCoLC)171572897(EXLCZ)99100000000036297620011114d2001 uy 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierArmageddon averted the Soviet collapse, 1970-2000 /Stephen KotkinOxford :Oxford University Press,2001.©20011 online resource (xix, 245 pages, 16 pages of plates )illustrations, maps, portraitsOriginally published: 2001.0-19-516894-1 Includes bibliographical references and index.History’s cruel tricks -- Reviving the dream -- The drama of reform -- Waiting for the end of the world -- Survival and cannibalism in the rust belt -- Democracy without liberalism? -- Idealism and treason.Using several dozen memoirs of insiders and many declassified documents, this volume narrates and explains not just the collapse of socialism but also of the Union and in a comparative framework shows how and why the two collapsed together.In the Cold War era that dominated the second half of the 20th century, nobody envisaged that the collapse of the Soviet Union would come from within, still less that it would happen meekly, without global conflagration. In this compact book, Stephen Kotkin shows that the Soviet collapse resulted not from military competition but, ironically, from the dynamism of Communist ideology, the long-held dream for "socialism with a human face". The neo-liberal reforms in post-Soviet Russia never took place, nor could they have, given the Soviet-era inheritance in the social, political and economic landscape. Kotkin takes us deep into post-Stalin Soviet society and institutions, into the everyday hopes and secret political intrigues that affected 285 million people, before and after 1991. He conveys the high drama of a superpower falling apart while armed to the teeth with millions of loyal troops and tens of thousands of weapons of mass destruction. "Armageddon Averted" vividly demonstrates the overriding importance of history, individual ambition, geopolitics and institutions, and deftly draws out contemporary Russia's contradictory predicament.CommunismSoviet UnionHistorySoviet UnionHistory1953-1985Soviet UnionHistory1985-1991CommunismHistory.947.085Kotkin Stephen 301208MiAaPQMiAaPQMiAaPQBOOK9910784573103321Armageddon averted722178UNINA07069nam 22010334a 450 99624823040331620240410083134.01-282-35879-097866123587911-59875-787-30-520-94036-910.1525/9780520940369(CKB)2670000000355259(EBL)239443(OCoLC)437152952(SSID)ssj0000281040(PQKBManifestationID)11912447(PQKBTitleCode)TC0000281040(PQKBWorkID)10299941(PQKB)10924932(MiAaPQ)EBC239443(OCoLC)191952989(MdBmJHUP)muse30462(DE-B1597)520624(OCoLC)1110712059(DE-B1597)9780520940369(Au-PeEL)EBL239443(CaPaEBR)ebr10089246(CaONFJC)MIL235879(dli)HEB08096(MiU)MIU01000000000000004980428(EXLCZ)99267000000035525920040927d2005 uy 0engur|||||||nn|ntxtccrJames Ivory in conversation how Merchant Ivory makes its movies /Robert Emmet Long ; foreword by Janet Maslin1st ed.Berkeley University of California Pressc20051 online resource (352 p.)Includes index.0-520-23415-4 0-520-24999-2 Front matter --Contents --Foreword --Setting the scene --The early years --Documentaries, 1952-1972 --India --America --England --France --Index --Photography creditsJames Ivory in Conversation is an exclusive series of interviews with a director known for the international scope of his filmmaking on several continents. Three-time Academy Award nominee for best director, responsible for such film classics as A Room with a View and The Remains of the Day, Ivory speaks with remarkable candor and wit about his more than forty years as an independent filmmaker. In this deeply engaging book, he comments on the many aspects of his world-traveling career: his growing up in Oregon (he is not an Englishman, as most Europeans and many Americans think), his early involvement with documentary films that first brought attention to him, his discovery of India, his friendships with celebrated figures here and abroad, his skirmishes with the Picasso family and Thomas Jefferson scholars, his usually candid yet at times explosive relations with actors. Supported by seventy illuminating photographs selected by Ivory himself, the book offers a wealth of previously unavailable information about the director's life and the art of making movies. James Ivory on: On the Merchant Ivory Jhabvala partnership: "I've always said that Merchant Ivory is a bit like the U. S. Government; I'm the President, Ismail is the Congress, and Ruth is the Supreme Court. Though Ismail and I disagree sometimes, Ruth acts as a referee, or she and I may gang up on him, or vice versa. The main thing is, no one ever truly interferes in the area of work of the other. "On Shooting Mr. and Mrs. Bridge: "Who told you we had long 18 hour days? We had a regular schedule, not at all rushed, worked regular hours and had regular two-day weekends, during which the crew shopped in the excellent malls of Kansas City, Paul Newman raced cars somewhere, unknown to us and the insurance company, and I lay on a couch reading The Remains of the Day. "On Jessica Tandy as Miss Birdseye in The Bostonians: "Jessica Tandy was seventy-two or something, and she felt she had to 'play' being an old woman, to 'act' an old woman. Unfortunately, I couldn't say to her, 'You don't have to 'act' this, just 'be,' that will be sufficient.' You can't tell the former Blanche Du Bois that she's an old woman now. "On Adapting E. M. Forster's novels "His was a very pleasing voice, and it was easy to follow. Why turn his books into films unless you want to do that? But I suppose my voice was there, too; it was a kind of duet, you could say, and he provided the melody. "On India: "If you see my Indian movies then you get some idea of what it was that attracted me about India and Indians...any explanation would sound lamer than the thing warrants. The mood was so great and overwhelming that any explanation of it would seem physically thin....I put all my feeling about India into several Indian films, and if you know those films and like them, you see from these films what it was that attracted me to India. "On whether he was influenced by Renoir in filming A Room with a View "I was certainly not influenced by Renoir in that film. But if you put some good looking women in long white dresses in a field dotted with red poppies, and they're holding parasols, then people will say, 'Renoir. '"On the Critics: "I came to believe that to have a powerful enemy like Pauline Kael only made me stronger. You know, like a kind of voodoo. I wonder if it worked that way in those days for any of her other victims-Woody Allen, for instance, or Stanley Kubrick. "On Andy Warhol as a dinner guest: "I met him many times over the last twenty years of his life, but I can't say I knew him, which is what most people say, even those who were his intimates. Once he came to dinner with a group of his Factory friends at my apartment. I remember that he or someone else left a dirty plate, with chicken bones and knife and fork, in my bathroom wash basin. It seemed to be a symbolic gesture, to be a matter of style, and not just bad manners."PERFORMING ARTS / Film & Video / Generalbisacsha room with a view.american director.american filmmaker.american producer.american screenwriter.art of making movies.art.biographical.career.documentary films.em forster.entertainment industry.film criticism.film studies.independent filmmaker.india.international filmmaking.ismail merchant.james ivory.jessica tandy.merchant ivory pictures.miss birdseye.movie studies.movies.mr and mrs bridge.picasso family.ruth prawer jhabvala.the bostonians.the remains of the day.thomas jefferson scholars.PERFORMING ARTS / Film & Video / General.791.4302/33/092Ivory James1007270Long Robert Emmet1007271MiAaPQMiAaPQMiAaPQBOOK996248230403316James Ivory in conversation2320206UNISA