Becoming a central figure in Parisian life in the 1920's when in his early 30's, Le Corbusier was a writer, essayist, editor, painter, lecturer, but more than anything else, an architect of the Modern Era. His influence on architecture and design is incalculable.
This time it is the turn of the heist movie, with its unique combination of suspense and action. Whether it is the big bank job or netting a fortune in diamonds, why, asks Mark, do otherwise law-abiding audiences find themselves rooting for robbers and even killers? More than any other genre, the heist movie plays with our sympathies, encouraging us to identify with characters we would run a mile from in real life. From The Asphalt Jungle to Ocean's Eleven by way of The Italian Job and even The Wrong Trousers, Mark shows how recurring character types, such as the mastermind, and sequences like the planning scene and the getaway, draw us into the big score. And he demonstrates how recent hits like Inception, The Wolf of Wall Street and Baby Driver have pushed the conventions of the heist in thrilling new directions. At the box office, at least, crime really does pay.
Mark turns to horror and shows how film-makers have devilishly deployed a range of cinematic tricks to exploit our deepest, darkest and most elemental fears. He explores the recurring elements of horror, including the journey, the jump scare, the scary place, the monster and the chase. He reveals how they have been refined and reinvented in films as diverse as the silent classic The Phantom of the Opera, low-budget cult shockers The Texas Chain Saw Massacre and The Evil Dead, and Oscar-winners The Silence of the Lambs and Get Out. Mark analyses the importance of archetypal figures such as the clown, the savant and the 'final girl'. And of course, he celebrates his beloved Exorcist films by examining two unforgettable but very different shock moments in The Exorcist and The Exorcist III. Ultimately, Mark argues, horror is the most cinematic of genres, because no other kind of film deploys images and sound to such powerful and primal effect.
M.C. Escher is among the most intriguing of artists. In 1956 he challenged the laws of perspective with his graphic Print Gallery and his uncompleted master-piece quickly became the most puzzling enigma of modern art. Fifty years later, can mathematician Hendrik Lenstra complete it? Should he?
2007 • Creativity