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Showing results 1 - 25 of 82 for "mona lisa smile"

Rudy / Mona Lisa Smile (Widescreen)
Rudy / Mona Lisa Smile (Widescreen)
"Rudy": All his life, people have told Rudy he's not good enough, not smart enough, not big enough. But nothing can stop his impossible dream of playing football for Notre Dame. From the time he's a young boy, Rudy (Sean Astin) is determined to join the Fighting Irish. But his blue collar family only laughs at his ambitions - they know Rudy will follow his father and brothers to the local steel mill. And, for four long years after high school, he does just that. But some dreams won't die, as Rudy proves when he goes to heroic, occasionally hilarious, lengths to win admission to Notre Dame. Once there, he becomes a walk-on player, serving as little more than a human tackling dummy against the starting players. Bloodied but unbeaten, Rudy wins the respect of legendary coach Ara Parseghian and the other Irish players, who give him one shot at gridiron glory. An incredible true story from the creators of Hoosiers, "Rudy" is an unforgettable testament to the power of dreams and the triumph of the common man. "Mona Lisa Smile": Academy Award(R)-winner Julia Roberts ("Erin Brockovich") leads an all-star cast featuring Kirsten Dunst, Julia Stiles, Maggie Gyllenhall and Marcia Gay Harden. "Mona Lisa Smile" is a funny, inspiring and uplifting film about an art history professor with a lot to teach about life and much to learn about romance. Language: English, Subtitles: English and French. "Rudy" is Rated PG, "Mona Lisa Smile" is Rated PG-13.
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Why Mona Lisa Smiles and Other Tales by Vasari
Why Mona Lisa Smiles and Other Tales by Vasari
Art history as we know it would not exist without Vasari, and Barolsky shows us that something of the same claim should be made for literary history. He demonstrates the ways in which a literary approach to Vasari's book deepens our understanding of its historical, art-historical, and imaginative character.Why Mona Lisa Smiles discusses Vasari's shrewd, witty, intimate awareness of Dante, Petrarch, and Boccaccio and relates the Lives to the works of Catiglione, Arentino, Cellini, and Rabelais. Barolsky reveals the unexpected fantasy of Varasi, who imagined and then invented artists and works of art, as well as totally fabricating the lives of artists about whom he knew little or nothing.Barolsky traces the myth of Pygmalion through the Lives, demonstrating that Vasari was himself a Pygmalion in words and showing that wittily played on the names of artists, revealing these poetical fantasies as part of the very iconology of Renaissance art.By aprroaching the Lives as a combination of genres-biography, history, novella, autobiography, novel and literary banquet-Barolsky connects Vasari's highly fictionalized history to the modern historical novel. The fictional character of Vasari's book should not be ignored or dismissed by art historians, Barolssky insists, since it is itself a historical document-the record of how a painter and writer of extraordinary sensibility beheld works of art at a particular moment in history. Barolsky's unique approach to the Lives makes just study a valuable contribution to the history of the reception of art.
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