Tag: Novo

I Said No Thanks The Autobiography. Nacho Novo with Darrell King


Free Download Nacho Novo, "I Said No Thanks: The Autobiography. Nacho Novo with Darrell King"
English | 2011 | ISBN: 1845023234, 1845022866 | EPUB | pages: 256 | 0.4 mb
Nacho Novo is the most revered foreign player Rangers have had since iconic figures like Brian Laudrup and Jorg Albertz. He became an instant favourite with the Ibrox faithful in the summer of 2004 when he famously rejected overtures from arch-rivals Celtic and signed for Rangers. Now, as he closes in on six years at Rangers, "I Said No Thanks" tells Nacho Novo’s story in an explosive and controversial book that pulls no punches. Novo charts his journey from his upbringing in Spain to the streets of Kirkcaldy and Dundee as he made his name in Scottish football. There’s the family tragedy that changed his life. He reveals the real reasons he said ‘No Thanks’ to Celtic – a decision that defined his life. And he tells the full inside story of the managers he has worked with, the glory goals that have clinched SPL titles and UEFA Cup glory, the fall-outs and the controversy as well as revealing for the first time the shocking stories behind life in Glasgow as one of the few players to have split the football-mad city in two. "I Said No Thanks" is a no-holds-barred insight into life as an Old Firm star.

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Brazil on Screen Cinema Novo, New Cinema, Utopia


Free Download Julian Ross, "Brazil on Screen: Cinema Novo, New Cinema, Utopia"
English | 2007 | pages: 184 | ISBN: 1845113284, 1845114485 | PDF | 14,3 mb
Two periods of Brazilian film history are particularly notable for their artistic momentum: the Cinema Novo movement of the 1960s and early ’70s, and the film revival from the mid 1990s onwards. What makes them especially strong, this book argues, is their utopian impulse. By adopting Utopia as a theme, as well as a method of film analysis, Lucia Nagib unveils, organises and interprets a fascinating wealth of recurrent images, which are a bridge between a cinema strongly concerned with the national project and another informed by global culture. Outstanding recent films, such as "Central Station", "Perfumed Ball", "Hans Staden", "Orfeu", "City of God" and "The Trespasser", are illuminated by Nagib’s sharp analysis, which detects utopian, anti-utopian and even dystopian impulses in them. They are at once representatives of a political arena in constant struggle against underdevelopment and legitimate (as well as critical) heirs of past cinematic traditions.

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