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	Peter Greenaway - Wikipedia, the free encyclopedia
		Greenaway was born in Newport in Wales (his mother is Welsh), but grew up in England.
		A hallmark of many of Greenaway's films is the heavy influence of Renaissance and, in particular Flemish, painting in his scene composition and lighting, with its concomitant contrasts of costume and naturalized nudity, nature and architecture, furniture and person, sexual pleasure and painful death.
		Greenaway has often worked with composer Michael Nyman, who is known for his sound tracks for films such as the Draughtsman's Contract, The Cook the Thief His Wife and Her Lover, Prospero's Books.
	en.wikipedia.org /wiki/Peter_Greenaway (945 words)

	euroscreenwriters/Interview with Peter Greenaway - The Medium is the Message
		Peter Greenaway: All the notion of film running through a camera and later through a projector is related to a technology that goes right back to1895 with soundtrack edit in 1929 - so these are very old technologies.
		Peter Greenaway: Yes, at this present stage, again we have to work on at-the-stage-of-the-art computers to make magnificent complex still images, which have the ability of being projected to the size of the Empire State Building.
		Peter Greenaway: After a while it does become sheer exhausting, the banality and boredom of its all is like listening to people's late night radio conversations.
	zakka.dk /euroscreenwriters/interviews/peter_greenaway_02.htm (3126 words)

	Paris Transatlantic: Peter Greenaway Interview
		Greenaway's first short films, Intervals and H is for House, were produced in 1972.
		Greenaway: Yes, but don't forget the contradiction: we have a screen, which also must be a pane of glass.
		Greenaway: Well again, to use that old analogy, I probably had lots of cultural snobbisms about cinema; cinema had a vocabulary which had all the letters of the alphabet, all the vowels and all the consonants, and I used to have this feeling that television had only the vowels.
	www.paristransatlantic.com /magazine/interviews/greenaway.html (5052 words)

	Okazo - Irwin - Feature Writings - Peter Greenaway's Contract (Site not responding. Last check: 2007-10-21)
		Greenaway's work shows that the avant-garde filmmaker and society at large are not mutually opposed entities, but in fact can get along extremely well.
		Greenaway was born in 1942, a period of intense arbitrary calamity for England, giving at least some explanation for the "Violent Unexplained Event" and other arbitrary calamities in his films.
		Greenaway devised a structure into which he can toss anything that comes to mind (and toss he does) and have it not only relate to the whole but increase its meaning as well, a remarkable achievement.
	www.okazo.com /portfolio/writings/writgreenaway.htm (4462 words)

	Salon \| Peter Greenaway
		Peter Greenaway thinks most movies are empty and sentimental -- and that includes art-house pictures, which Greenaway treats with as much disdain as mainstream Hollywood products.
		Greenaway's best known film, "The Cook, the Thief, His Wife, and Her Lover" (1989) mixed a savage critique of Thatcherite excess with generous helpings of sex and nudity -- all of it ending in an infamous cannibalism scene.
		In person, Greenaway is an intellectual dynamo: energetic and opinionated, with a flair for the contrary.
	www.salon.com /june97/greenaway970606.html (514 words)

	Peter Greenaway's Prospero's Books
		Peter Greenaway's Prospero's Books itself functions according to the Paint Box principle: there is hardly an image or a shot in the film that is not generated from some previous image.
		Greenaway is much more concerned to give new order to that which is already at hand, to establish new relationships, bring disparate elements together and thereby create new insights.
		Greenaway foregoes contrasts and the building up of tension by means of conventional film dramaturgy, and instead structures his film around the cross-faded books which comment on the action and create references to the outside world.
	webdoc.gwdg.de /edoc/ia/eese/artic96/klein/12_96.html (3273 words)

	Peter Greenaway: bio and encyclopedia article (Site not responding. Last check: 2007-10-21)
		Greenaway was born in Newport in Wales[Click link for more facts about this topic] (his mother is Welsh), EHandler: no quick summary.
		The draughtsmans contract was a 1982 film written and directed by peter greenaway....
		The pillow book is a film by director peter greenaway (also wrote the screenplay), united kingdom, 1996....
	www.absoluteastronomy.com /encyclopedia/p/pe/peter_greenaway.htm (1946 words)

	CORNER
		The elements which, in Greenaway, have affinities with the fictional procedures of the Argentine writer are not few, especially in what touches the conscious practice of fictional artifices, the encyclopedic view of the world, the exercise of fantastic taxonomies, the authorial ruses, the dizzying citations, the conception of the universe as a "Library of Babel".
		Greenaway indeed constructs his fictional world as a composite of metaphors, allegories, quotations, pictorial images, erudite references, whose organization, rigorously made of symmetries and taxonomic orderings, is imploded by an intrinsically disordering, absurd logic.
		As Peter Greenaway says, "there is a deliberate amalgamation or confusion between Shakespeare, Gielgud and Prospero they are, in effect, the same person".[12] That is to say, the director converts into film the Borgesian maxim that all men who repeat a line of Shakespeare are William Shakespeare.
	www.cornermag.org /corner04/page02.htm (2150 words)

	Peter Greenaway @ Filmbug
		Even though Peter Greenaway is an Englishman, he was actually born in Newport in Wales (his mother is Welsh).
		Greenaway would spend the next three years there, and at the time of arriving there he made his first film, Death of Sentiment.
		Greenaway is currently working on his most ambitious film project, The Tulse Luper Suitcase, a multimedia extravaganza featuring innovative film techniques.
	www.filmbug.com /db/31825 (774 words)

	The Tulse Luper Suitcases: Peter Greenaway's Mediatic Journey through History by Heidi Peeters
		Peter Greenaway, generally known as a film director, but actually more of an artisto universalis, claimed in his Cinema Militans Lecture that film is now an old dinosaur-like medium, with its 108 years in age having reached its expiration date decades ago.
		The difference between Greenaway's and the New Historicist approach, however, is that the latter still searches for interpretations that come closest to the way "it really was," trying to read objects through the epistemic lenses of their originating period.
		Greenaway's appropriation of history to his own artistic desires and creative whims could also be taken to be exactly the opposite of the New Historical approach as well and in this way be reminiscent of historicism as described and criticized by Fredric Jameson.
	www.imageandnarrative.be /tulseluper/peeters_art.htm (4364 words)

	Peter Greenaway: Biography (Site not responding. Last check: 2007-10-21)
		Greenaway was born in Newport, Wales, in 1942.
		Greenaway learnt his craft at the Central Office of Information, where for 11 years, from 1965, he cut small crappy documentaries.
		Peter Greenaway has produced a wealth of short and feature-length films, but also paintings, novels and other books, and has held several one-man shows and curated exhibitions at museums world-wide.
	www.magnet.gr /views/greenaway/biography.htm (299 words)

	Planet-Express - Peter Greenaway - Geneva Stairs
		peter greenaway - geneva - genève - stairs - At the turn of the century pull-out postcards showing the most important tourist attractions in a town became popular souvenirs.
		The artist/director Peter Greenaway's project Stairs is built on the same principle.
		Sometimes Greenaway has enhanced reality by having mysterious characters, living statues or historical people, lurking inside the view, or he demonstrates the acoustics of one location by using a singer while a computer graphic image of her voice is shown on another level.
	cri.ch /stairs/index.html (321 words)

	EMAF 96 - Archive 1992: Peter Greenaway II
		Peter Greenaway is an essay about the english painter and director of the same name, whose films belong to the most exciting material, that is shown in cinemas and television.
		You can divide the whole filmic oeuvre of Peter Greenaway in two phases: The first was from 1965 to 1980 and the second lasts from then on until now.
		Peter Greenaway wants to show these roots, by presenting two complete short films: Revolution, produced by himself in 1968, is the oldest Greenaway film, which has been published.
	www.emaf.de /1992/green2_e.html (852 words)

	The Falls
		"At a guess, Greenaway has two sources, Wittgenstein's 'Die Welt ist alles, was der Fall ist' (The World is all that is the case) and Foucault's preface to Les mots et les choses where it is said that the history of the order of things is that of the conditions which make a taxonomy possible...
		Greenaway is also, and perhaps essentially, the heir to a very English Utopian tradition so strongly represented by Tolkien and Mervyn Peake.
		Greenaway's principal achievement in The Falls is to have created a compelling and consistent world sustained by the conventions of the documentary form; however absurd or hilarious the revelations appear...
	vue.org.uk /falls.htm (3178 words)

	Enculturation: Marsha Gordon
		Greenaway ultimately collides some fundamental and very antagonistic cinematic notions such as pleasure and guilt to challenge the passivity of his spectators and to question the manipulative role of cinema itself alongside the manipulated role of the cinematic spectator.
		Because Greenaway revisits many of the taboo themes addressed in each of his films, it is often difficult to tell precisely who is positioned as the fetishist in his cinematic equation.
		Greenaway seems intent to point out that the notion of a discernible "truth" is, at best, fallible; at worst, it is deadly--perhaps as much for the daughter in the film as for the spectator outside of the film.
	enculturation.gmu.edu /2_1/gordon.html (3593 words)

	Guardian Unlimited Film \| Features \| Why j'aime Peter Greenaway... and why I loathe his films
		We French believe ourselves to be the most sophisticated people in the world, and in Greenaway we had found a brother, with whom we could discuss as equals the respective merits of British and French gardens or the grandeur of baroque music, or solve murder mysteries in the style of Agatha Christie or Gaston Leroux.
		In case you are not familiar with the film, Greenaway structures it around the numbers one to 100, slipping in the ever-greater figures in either a detail of the picture or the soundtrack.
		And Grannie was Peter Greenaway - with spectacles, horned ears and a forked tail - and whenever his darting eyes turned on us, we were all right if we were writing something horrible and terrible about Peter Greenaway.
	film.guardian.co.uk /cannes/story/0,13266,961118,00.html (1422 words)

	Peter Greenaway (Site not responding. Last check: 2007-10-21)
		The film received a half-assed distribution in North America and Greenaway suffered the indignity of critics actually cancelling interviews while he was on the promo circuit at film festivals.
		Based on the Japanese tradition of pillow books (which are essentially diaries), Greenaway's screenplay is set in 1999, when a woman (Vivian Wu) with a fetish for having her lovers paint words on her body comes into contact with McGregor.
		Greenaway's plot is typically convoluted and complicated, full of endless twists, turns and tangents (no room for a flow chart here).
	www.montrealmirror.com /ARCHIVES/1997/061997/film2.html (431 words)

	screenonline: Greenaway, Peter (1942-) Biography
		Gras, Vernon and Marguerite Gras (eds), Peter Greenaway Interviews (Jackson, Mississippi: University of Mississippi, 2000).
		Peter Greenaway's catalogue of survivors of an unknown disaster
		Peter Greenaway's mocking parody of rigid structuralist principles
	www.screenonline.org.uk /people/id/460978 (1436 words)

	Peter Greenaway (Site not responding. Last check: 2007-10-21)
		Peter Greenaway, born in 1952, isn't as big a prick as this picture makes him out to be.
		Peter Greenaway: Architecture and Allegory by Bridget Elliot and Anthony Purdy
		Peter Greenaway's Postmodern/Poststructuralist Cinema by Paula Willoquet-Maricondi and Mary Alemany-Galway, eds.
	www.artofeurope.com /greenaway (86 words)

	The Pillow Book . Nashville Scene . 08-25-97
		In his new movie The Pillow Book, Peter Greenaway cites the two reliable pleasures in life: "the pleasures of the flesh, and the pleasures of literature." And so they are--everywhere but in Greenaway's films.
		Greenaway's characters may work fine as painting surfaces, but they have no interior life or independence that would arouse passion, and the director practically handles their couplings with tongs.
		Greenaway folds and shapes the screen in intriguing ways, but this whole exercise in cinematic origami is so airless and fussy that when it ended, I was left wondering exactly what he thinks the pleasures of the flesh and literature are.
	www.filmvault.com /filmvault/nash/p/pillowbookthe1.html (543 words)

	Prospero's Books (1991) : Directed by Peter Greenaway, reviewed by Nick Burton (Site not responding. Last check: 2007-10-21)
		But Greenaway’s elegant visual style owes as much to his background as an artist as it does his career as a filmmaker, even though Greenaway has made films from British television that date back to the ‘60s.
		Greenaway’s adaptation of Shakespeare’s The Tempest is such a unique and visually overwhelming film, that unless one is almost on intimate terms with the play, it could be very rough going indeed.
		Greenaway has Prospero — now castaway on a deserted island — imagine that he creates the play The Tempest, and the action we see is the product of Prospero’s imagination as he manipulates the characters of his drama as well as the legion of fairies, sprites, nymphs and monsters that inhabit his magic land.
	www.pifmagazine.com /SID/778 (664 words)

	BBC News \| FILM \| Cinema is dead, says Greenaway
		British film director Peter Greenaway has accused today's filmmakers of killing the medium with cynicism and laziness.
		Mr Greenaway's assertions about the UK box office are not supported by the available evidence.
		Mr Greenaway's filmmaking has often been controversial, but his multi-layered and visually sumptuous films - such as The Draughtsman's Contract and Prospero's Books - have often crossed into mainstream cinema while maintaining a cult status with fans.
	news.bbc.co.uk /1/hi/entertainment/film/1835469.stm (391 words)

	Barnes & Noble.com - Biography - Peter Greenaway
		Born April 5, 1942, in Newport, Wales, Greenaway was raised primarily in nearby Chingford.
		After deciding at the age of 12 to become a painter, he entered the Walthamstow College of Art, where among his classmates was the future post-punk musician Ian Dury.
		In 1983, Greenaway helmed documentaries on the American composers Robert Ashley, John Cage, Philip Glass, and Meredith Monk for Britain's Channel Four television network.
	video.barnesandnoble.com /search/biography.asp?ctr=603493 (631 words)

	Greenaway, Peter - Hutchinson encyclopedia article about Greenaway, Peter (Site not responding. Last check: 2007-10-21)
		The Falls (1980) established Greenaway's reputation for carefully composed images, a fascination with numbers and lists, and mischievous intellectualism.
		For all their formal beauty and technical polish, A Zed and Two Noughts (1985), The Belly of an Architect (1987), and Drowning by Numbers (1988) had a mixed critical reception.
		This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional.
	encyclopedia.farlex.com /Greenaway,+Peter (272 words)

	The Films of Peter Greenaway
		Before launching on a career as one of Britain's most consistent cinematic provocateurs, Peter Greenaway created a series of short films (and in one case, an extremely long film that feels like a series of shorts strung together) in which his experience as a painter and documentary editor collided with often amusing, tantalizing results.
		Greenaway returned to the same location in 1976 for the sunnier "H Is for House," one of his notorious listing exercises, in which similar narration provides a deadpan 9-minute listing of absurdly juxtaposed items beginning with the letter "h" while a mother plays with her young daughter.
		Peter Greenaway's second feature film continued many of the obsessions already established in his experimental work: elaborate references to works of fine art, austere and painterly camerawork, confrontational subject matter, and a wholly unique view of sexuality and the human body.
	www.mondo-digital.com /pillow.html (5781 words)

	The Falls - Wikipedia, the free encyclopedia
		It was Greenaway's first feature-length film after many years making shorts.
		It does not have a traditional dramatic narrative; it takes the form of a mock documentary in 92 short parts.
		Luper is a recurring off-stage character in Greenaway's early films, and would eventually appear on film in the epic series The Tulse Luper Suitcases (2003 onwards).
	en.wikipedia.org /wiki/The_Falls (1049 words)

	VH1.com : Movies : Person : Peter Greenaway : Biography
		An avant-gardist who earned surprising access to the mainstream, Peter Greenaway is among the most ambitious and controversial filmmakers of his era.
		The first of Greenaway's experimental short films to gain widespread distribution was 1969's seven-minute Intervals.
		Greenaway then returned to television for the next two years, helming 1991's M Is for Man, Music, Mozart and the 1993 revisionist biopic Darwin.
	www.vh1.com /movies/person/81598/bio.jhtml (646 words)

	disinformation \| peter greenaway: monsters of macon (Site not responding. Last check: 2007-10-21)
		I learned more in an hour with Peter Greenaway about film directing and handling the media, than at any other time.
		Greenaway's discussion of cinematic/televisual propaganda was prescient in the wake of Big Brother and scientific studies.
		On Black Friday 1994 Peter Greenaway choose to face the inquisitorial hearings to defend his new film Baby of Macon.
	www.disinfo.com /archive/pages/dossier/id1567/pg1 (1431 words)

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