A Thief In Cannes Stealing Erif G Ren S Palme D Or

The film Yol (The Road) is a landmark in Türkiye’s cinema history, not only because it shared the Palme d’Or with Missing by Greek-born French director Konstantinos Gavras at the 35th Cannes Film Festival in 1982, but also because it was the first film from Türkiye to receive the highly prestigious Golden Palm. Şerif Gören directed the film, but the award was given to Yılmaz Güney (Pütün), the screenwriter and one of the editors of the film, who was present at the festival. The award was given to Güney, not on behalf of Şerif Gören, but instead of the film’s director, and The Road was publicised both at the festival and in the following period as “a Yılmaz Güney film”. Even today, many popular or academic publications, including the official website of the Cannes Film Festival, credit Güney as the director of the film, despite his imprisonment during the entire preparation and shooting process. Strikingly, in the majority of these sources, the name of the film’s real director, Şerif Gören, is either not mentioned at all or is given after Güney’s in small letters. This study hopes to correct several (film) historical records as well as a historical injustice against Gören. I also hope that this text will inspire Şerif Gören to break his silence, the reason of which I cannot understand, and allow us to learn new things about one of the most important filmmakers in Türkiye’s cinema and his films through a dialogue or discussion environment that can ensue.

NEW YORK TIMES BESTSELLER • The definitive cookbook on French cuisine for American readers: "What a cookbook should be: packed with sumptuous recipes, detailed instructions, and precise line drawings. Some of the instructions look daunting, but as Child herself says in the introduction, 'If you can read, you can cook.'" —Entertainment Weekly “I only wish that I had written it myself.” —James Beard Featuring 524 delicious recipes and over 100 instructive illustrations to guide readers every step of the way, Mastering the Art of French Cooking offers something for everyone, from seasoned experts to beginners who love good food and long to reproduce the savory delights of French cuisine. Julia Child, Simone Beck, and Louisette Bertholle break down the classic foods of France into a logical sequence of themes and variations rather than presenting an endless and diffuse catalogue of dishes—from historic Gallic masterpieces to the seemingly artless perfection of a dish of spring-green peas. Throughout, the focus is on key recipes that form the backbone of French cookery and lend themselves to an infinite number of elaborations—bound to increase anyone’s culinary repertoire. “Julia has slowly but surely altered our way of thinking about food. She has taken the fear out of the term ‘haute cuisine.’ She has increased gastronomic awareness a thousandfold by stressing the importance of good foundation and technique, and she has elevated our consciousness to the refined pleasures of dining." —Thomas Keller, The French Laundry

Once enthroned as a major international filmmaker, Carol Reed has long since been banished to a musty corner of movie history. To dust off his work, however, is to discover a dazzling body of films, a canon as remarkable for its diversity as its quality. Building his case, film by film, Robert Moss argues persuasively for a reassessment of this gifted artist, claiming a place for him in the ranks of the world's greatest directors.

Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself-his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950-1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard's career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

They obsess over the nuances of a Douglas Sirk or Ingmar Bergman film; they revel in books such as François Truffaut's Hitchcock; they happily subscribe to the Sundance Channel—they are the rare breed known as cinephiles. Though much has been made of the classic era of cinephilia from the 1950s to the 1970s, Cinephilia documents the latest generation of cinephiles and their use of new technologies. With the advent of home theaters, digital recording devices, online film communities, cinephiles today pursue their dedication to film outside of institutional settings. A radical new history of film culture, Cinephilia breaks new ground for students and scholars alike.

NATIONAL BESTSELLER • Julia's story of her transformative years in France in her own words is "captivating ... her marvelously distinctive voice is present on every page.” (San Francisco Chronicle). Although she would later singlehandedly create a new approach to American cuisine with her cookbook Mastering the Art of French Cooking and her television show The French Chef, Julia Child was not always a master chef. Indeed, when she first arrived in France in 1948 with her husband, Paul, who was to work for the USIS, she spoke no French and knew nothing about the country itself. But as she dove into French culture, buying food at local markets and taking classes at the Cordon Bleu, her life changed forever with her newfound passion for cooking and teaching. Julia’s unforgettable story—struggles with the head of the Cordon Bleu, rejections from publishers to whom she sent her now-famous cookbook, a wonderful, nearly fifty-year long marriage that took the Childs across the globe—unfolds with the spirit so key to Julia’s success as a chef and a writer, brilliantly capturing one of America’s most endearing personalities.

A landmark American drama that inspired a classic film and a Broadway revival—featuring an introduction by David Mamet A blistering character study and an examination of the American melting pot and the judicial system that keeps it in check, Twelve Angry Men holds at its core a deeply patriotic faith in the U.S. legal system. The play centers on Juror Eight, who is at first the sole holdout in an 11-1 guilty vote. Eight sets his sights not on proving the other jurors wrong but rather on getting them to look at the situation in a clear-eyed way not affected by their personal prejudices or biases. Reginald Rose deliberately and carefully peels away the layers of artifice from the men and allows a fuller picture to form of them—and of America, at its best and worst. After the critically acclaimed teleplay aired in 1954, this landmark American drama went on to become a cinematic masterpiece in 1957 starring Henry Fonda, for which Rose wrote the adaptation. More recently, Twelve Angry Men had a successful, and award-winning, run on Broadway. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.