By Richard Burton
Irresistibly magnetic on level, spell binding in video clips, seven instances an Academy Award nominee, Richard Burton rose from humble beginnings in Wales to develop into Hollywood's so much hugely paid actor and one in every of England's such a lot prominent Shakespearean performers. His epic romance with Elizabeth Taylor, his mythical ingesting and story-telling, his fantastic purchases (enormous diamonds, a jet, houses on a number of continents), and his huge, immense expertise stored him always within the public eye. but the fellow in the back of the fame façade carried a shocking burden of lack of confidence and struggled with the bizarre demanding situations of a existence lived principally within the spotlight.
This quantity publishes Burton's huge own diaries of their entirety for the 1st time. His writings surround many years—from 1939, whilst he was once nonetheless undefined, to 1983, the 12 months ahead of his death—and they show him in his such a lot deepest moments, thinking about his triumphs and demons, his loves and his heartbreaks. The diary entries look of their unique series, with annotations to explain humans, areas, books, and occasions Burton mentions.
From those hand-written pages emerges a multi-dimensional guy, no mere flashy famous person. whereas Burton touched shoulders with shining lights—among them Olivia de Havilland, John Gielgud, Claire Bloom, Laurence Olivier, John Huston, Dylan Thomas, and Edward Albee—he additionally performed the real-life roles of supportive family members guy, father, husband, and extremely smart observer. His diaries provide a unprecedented and clean standpoint on his personal existence and occupation, and at the glamorous a long time of the mid-twentieth century.
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Additional info for The Richard Burton Diaries
The second notion concerns the relationship between cinematic practices (mediated by genial individual artists) and a legacy of nationally discrete developments in art history. Both conceptions significantly reduce the complexity of influences that German set design imported, synthesized, and in turn exported again to other film cultures. However, if German set design during the Weimar period, and its approach to mise-en-scène more generally, really was as nationally introspective and exclusive as both Kracauer and Eisner (as well as numerous subsequent studies) have claimed, why was this approach then so avidly copied by filmmakers elsewhere in Europe from the mid-s, and why was it that precisely the professions associated with set design became the most mobile work force in the European film industry in the late s and s?
However, as our case studies in this book suggest, these attempts and strategies of national containment and introspection provide only a partial understanding of the cinema of the s, and they were not necessarily always dominant. Instead they always competed (at least until the late s) with cosmopolitan practices, and these can frequently be located in popular cinema, and often in genres that emphasised spectacle through spatial cues. Bruno is very suggestive for these broader concerns of our book towards the end of Atlas of Emotion when she observes that conventional film histories tend to be ‘time’ rather than ‘space’-bound: It [film history] moves diachronically, progressing from period to period, and provides an essentially temporal history of the medium.
The effect of this practice on the set and its design can be documented in three significant ways. Firstly, the lighting assigned equal importance to all elements of the image, with the resultant refusal to privilege the actors against their background, heightening the presence and significance of the set. Secondly, what Thompson refers to as the set’s ‘conspicuous visibility’ required designers to construct backgrounds in a fairly naturalistic style, or rely totally on painted backdrops. In addition to differences in stylistic paradigms, Thompson also notes the different working methods in German and American studios.