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Showstoppers is divided into three parts, the first of which describes Berkeley's inimitable style, the elements that distinguish his work from others, and it's roots. Part II looks at his Broadway theater career during the second half of the 1920s. The meat of the story is presented in Part III, comprising 3/4 of the book, which describes in 7 chapters his cinema career spanning from 1930 to 1962. Each of his films is examined and includes references to the photos which are presented in two groups.
Showstoppers contains 248 pages of text plus 62 pages of production still photos of Berkeley's numbers. Although the black and white photos are not enlargements of actual frames from the films, they depict real sets and actors and, in some cases, show production equipment not visible in the film such as camera tracks in one instance. They are professionally lit, well printed and the captions informative. I highly recommend this book to any Berkeley buff, film fan, or lover of the musical spectacle on film.
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F&R provide a well defended account of what they call "guidance control." It is strongly built off of the earlier work of Harry Frankfurt's article, "Alternate Possibilities and Moral Responsibility." Using this, they attempt to build an account that solves clear cases about actions, consequences, and omissions in a clear symmetical way. In doing so, they believe the indirect and direct challenges to the compatibility thesis should be rejected.
After doing so, they attempt to look at "mesh theories" (e.g. Frankfurt and Watson) which look at the time-splice properties of an agent, and F&R argue for a contrasting (geniune) historical approach. In doing so, they use Galen Strawson's work to help answer particular problems. Following in their last chapter, they summarize all of their main points again, and look at Robert Adam's argument (in the appendix) concerning emotions and moral responsibility.
The extremely nice features of this book are that they argue for their position very clearly. One should have little trouble following their arguments, examples, and what they intend on doing. They tell you what they plan on doing, how they will do it, and then go right into it. Following, they summarize it again to make everything from that chapter and the preceeding chapters come together.
Another nice feature of this book is that it is exceptionally well argued. Though I found some disagreements along the way, naturally expected of anyone, I thought they provided a robust account that at least does what they intended: the provide an account of freedom that gives us a working theory which can be reworked, but meets the incompatibilist challenges, though honestly not enough perhaps to move everyone toward compatibilism (i.e. this is a philosophical explanation, not knock-down argument).
Because of these nice features and the good content, I highly recommend this book.