Robert Frank turned to filmmaking at the end of the 1950s. Although he has made 27 films, the work is largely a wellkept secret. Frank approaches each film project as a new experience, challenging the medium and its possibilities atevery turn. He has amalgamated documentary, fiction, and autobiography, cutting across genres. This book offers a visually unique approach to Frank¿s films: only new stills taken from videotapes have been used and they add up to a visual essay on Frank¿s cinema that establishes an engaging dialogue with his photographic work. Each film is introduced with detailed analysis, discussing the history and the aesthetics of Frank¿s film work. An interview with Allen Ginsberg provides an insider view. Together the texts and images offer an innovative and in-depth approach to the oeuvre of one of the greatest and most restless artists of the 20th century. Robert Frank was born in Zurich, Switzerland in 1924 and went to the United States in 1947. He is best known for his seminal book The Americans (1958), which gave rise to a distinct new art form in the photo-book, and his experimental film Pull My Daisy (1959) both reproduced by Steidl within The Robert Frank Project.

"From New York Times bestselling author and economics columnist Robert Frank, a revelatory look at the power and potential of social context. As psychologists have long understood, social environments profoundly shape our behavior, sometimes for the better, but often for the worse. Less widely noted is that social influence is a two-way street: Our environments are in large part themselves a product of the choices we make. Society embraces regulations that limit physical harm to others, as when smoking restrictions are defended as protecting bystanders from secondhand smoke. But we have been slower to endorse parallel steps that discourage harmful social environments, as when regulators fail to note that the far greater harm caused when someone becomes a smoker is to make others more likely to smoke. In Under the Influence, Robert Frank attributes this regulatory asymmetry to the laudable belief that individuals should accept responsibility for their own behavior. Yet that belief, he argues, is fully compatible with public policies that encourage supportive social environments. Most parents hope, for example, that their children won't grow up to become smokers, bullies, tax cheats, sexual predators, or problem drinkers. But each of these hopes is less likely to be realized whenever such behaviors become more common. Such injuries are hard to measure, Frank acknowledges, but that's no reason for policymakers to ignore them. The good news is that a variety of simple policy measures could foster more supportive social environments without ushering in the dreaded nanny state or demanding painful sacrifices from anyone"--

"...merican Witness is the first comprehensive look at the life of a man who's as mysterious and evasive as he is prolific and gifted. Leaving his rigid Switzerland for the more fluid United States in 1947, Frank found himself at the red-hot social center of bohemian New York in the '50s and '60s, becoming friends with everyone from Jack Kerouac, Allen Ginsberg, and Peter Orlovsky to photographer Walker Evans, actor Zero Mostel, painter Willem de Kooning, filmmaker Jonas Mekas, Bob Dylan, writer Rudy Wirlitzer, jazz musicians Ornette Coleman and Charles Mingus, and more. Frank roamed the country with his young family, taking roughly 27,000 photographs and collecting 83 of them into what is still his most famous work: The Americans. His was an America nobody had seen before, and if it was harshly criticized upon publication for its portrait of a divided country, the collection gradually grew to be recognized as a transformative American vision.nd then he turned his back on certain success, giving up photography to reinvent himself as a film and video maker. Frank helped found the American independent cinema of the 1960s and made a legendary film with the Rolling Stones. Today, the nonagenarian is an embodiment of restless creativity and a symbol of what it costs to remain original in America, his life defined by never repeating himself, never being satisfied. American Witness is a portrait of a singular artist and the country that he saw."--Dust jacket

In this, Robert Frank's newest book, he both acknowledges and moves beyond his acclaimed visual diaries (2010-17), which juxtapose iconic photos from throughout his career with the more personal pictures he makes today and suggestive, often autobiographical text fragments. In Good days quiet Frank's focus is life inside and outside his beloved weather-beaten wooden house in Mabou, where he has spent summers for decades with his wife June Leaf. Among portraits of Leaf, Allen Ginsberg and Frank's son are images of the house's simple interior with its wood-fueled iron stove, humble furniture and bare light bulbs, and views of the land and sea by the house: snow-covered, windswept, stormy or lit by the dying sun. Frank's Polaroid prints show various deliberate states of deterioration and manipulation at his hands, including texts that move from the merely descriptive ("watching the crows") to the emotive ("memories," "grey sea--old house / can you hear the music"). As always in Frank's books, his message lies primarily in the photos' lyrical sequence, an influential approach to the photobook pioneered by and today well at home in his 94-year-old hands. Robert Frank was born in Zurich in 1924 and immigrated to the United States in 1947. He is best known for his seminal book The Americans, first published in English in 1959, which gave rise to a distinctly new form of the photobook, and his experimental film Pull My Daisy (1959). Frank's other important projects include the books Black White and Things (1954), The Lines of My Hand (1972) and the film Cocksucker Blues for the Rolling Stones (1972). He divides his time between New York City and Nova Scotia, Canada.

Edited and text by Sarah Greenough. Additional text by Anne Tucker, Stuart Alexander, Martin Gasser, Jeff Rosenheim, Michel Frizot, Luc Sante, Philip Brookman.

From New York Times bestselling author and economics columnist Robert Frank, a compelling book that explains why the rich underestimate the importance of luck in their success, why that hurts everyone, and what we can do about it How important is luck in economic success? No question more reliably divides conservatives from liberals. As conservatives correctly observe, people who amass great fortunes are almost always talented and hardworking. But liberals are also correct to note that countless others have those same qualities yet never earn much. In recent years, social scientists have discovered that chance plays a much larger role in important life outcomes than most people imagine. In Success and Luck, bestselling author and New York Times economics columnist Robert Frank explores the surprising implications of those findings to show why the rich underestimate the importance of luck in success—and why that hurts everyone, even the wealthy. Frank describes how, in a world increasingly dominated by winner-take-all markets, chance opportunities and trivial initial advantages often translate into much larger ones—and enormous income differences—over time; how false beliefs about luck persist, despite compelling evidence against them; and how myths about personal success and luck shape individual and political choices in harmful ways. But, Frank argues, we could decrease the inequality driven by sheer luck by adopting simple, unintrusive policies that would free up trillions of dollars each year—more than enough to fix our crumbling infrastructure, expand healthcare coverage, fight global warming, and reduce poverty, all without requiring painful sacrifices from anyone. If this sounds implausible, you'll be surprised to discover that the solution requires only a few, noncontroversial steps. Compellingly readable, Success and Luck shows how a more accurate understanding of the role of chance in life could lead to better, richer, and fairer economies and societies.