By Sue Harris
From Amazon: "An American in Paris (1951) was once a landmark movie within the careers of Vincente Minnelli, Gene Kelly and Leslie Caron. A joyous social gathering of George Gershwin's track, French paintings, the wonderful thing about dance and the fabled urban of sunshine, the movie used to be heralded as a unprecedented instance of leisure 'for mass and sophistication alike'. Choreographed by means of Kelly on the peak of his profession, it gave new stature to the Hollywood musical, and showcased as by no means prior to the creative ambition, technical talents, inventive mind's eye and collaborative ethos of MGM's pioneering Arthur Freed Unit. Sue Harris attracts on archival fabric to track the film's improvement from notion to monitor. delivering new insights into the layout method specifically, she exhibits how An American in Paris confirmed the cinematic template for a urban with which Hollywood may develop into more and more infatuated within the a long time to follow."
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Extra resources for An American in Paris (BFI Film Classics)
A fact of inestimable significance, however, is that the present form of the Helos plain differs markedly from that of its ancient forerunner, which indeed was not strictly a plain. For the ‘Younger Fill’ around the head of the Lakonian Gulf is due to the climatic oscillation already noted, in which cool and moist phases promoted alluviation and coastal aggradation (Figure 3). The ancient shoreline, that is to say, lay appreciably further inland and, as has recently been proved by a deep core, the ancient landscape lies buried beneath in places five to fifteen metres of recent alluvium.
This may best be done by taking as our frame of reference the arguments of a leading prehistorian with experience of the problems of the Aegean (Renfrew 1972, 225–64). Attempting to trace the pattern of settlement in Greece from the Neolithic through the Bronze Age, Renfrew began correctly by pointing out the inadequacy of the available evidence, overwhelmingly assembled through surface exploration rather than scientific digging. Such evidence is subject to a series of limitations as raw material for ‘history’ that can only be surmounted by – or at least not without – excavation.
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