Brian Henderson's introduction provides an overview of Sturges criticism and brief biographical material. Each script is preceded by a prefatory essay discussing its evolution. The insights provided by this volume will be useful to film students and aspiring screenwriters, and fascinating to anyone interested in screen comedy. Virtually all the illustrations, showing Sturges at work, are published here for the first time.The collection includes "The Great McGinty, Christmas in July, The Lady Eve, Sullivan's Travels, " and " Hail the Conquering Hero."

    Wiley and Mr. Bona have found just the right tone for writing about this most particular of American phenomena.

    Routledge is an imprint of Taylor & Francis, an informa company.

    The relations between film style and mode of production are, according to the authors, reciprocal and mutually influencing. The authors trace such topics as style, economics, and technology over time, demonstrating how significant changes occurrred in Hollywood from the earliest days through the sixties.

    Authoritative and comprehensive, the third edition has been extensively revised, updated and expanded in response to developments in cinema and cinema studies. Lavishly illustrated in color, this edition features a wealth of exciting new sections and in-depth case studies.

    This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself—his own experiments, obsessions, and discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950–1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard’s career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

    An anthology devoted entirely to its writings, in English translation, is long overdue.The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scene as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists--Godard, Truffaut, Rohmer, Rivette, Chabrol--were to become some of France's most important film directors and leaders of the New Wave.Translated under the supervision of the British Film Institute, the selections have for the most part never appeared in English until now. Jim Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whole. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film.

    The truth is different, as his daughter Leatrice Gilbert Fountain revels for the first time. She interviewed hundreds of people who worked with and respected her father--directors, writers, cameramen, actors, and actresses--and they remember a much different John Gilbert: not just a romantic idol, but one of the most innovative and admired stars of his day. As the fledgling MGM's biggest star, he had hit after hit: He Who Gets Slapped, The Merry Widow, The Big Parade--huge critical as well as commercial successes. Box office records were set and then broken when Gilbert co-starred with Greta Garbo (his offscreen lover as well) in Flesh and the Devil, Love, and A Woman of Affairs.Gilbert's career declined not because of his unsuitability for talking pictures (he spoke in a light baritone) but because of the implacable hatred of Louis B. Mayer, the tyrannical head of MGM. Gilbert and Mayer clashed over artistic and personal differences. As a result, Mayer swore to destroy the studio's biggest star: he cast Gilbert in third-rate movies and spread false stories about his drinking and unreliability. He may even have tampered with the sound track of Gilbert's first talkie to make his voice sound laughably high-pitched.John Gilbert, both a creator and victim of the movie industry, in may ways symbolizes the potent magic of Hollywood. Dark Star restores his reputation as one of the most gifted actors of the silent era and ensures his work will live on.

    . . an extraordinary study, (New York Times). Presents a spellbinding portrait of Astaire and his musical films with exquisite photographs of the dapper dancer and his most famous partners.

    

    Its notoriety is so great that its title has become a generic term for disaster, for ego run rampant, for epic mismanagement, for wanton extravagance. It was also the film that brought down one of Hollywood’s major studios—United Artists, the company founded in 1919 by Douglas Fairbanks, Mary Pickford, D. W. Griffith, and Charlie Chaplin. Steven Bach was senior vice president and head of worldwide production for United Artists at the time of the filming of Heaven's Gate, and apart from the director and producer, the only person to witness the film’s evolution from beginning to end. Combining wit, extraordinary anecdotes, and historical perspective, he has produced a landmark book on Hollywood and its people, and in so doing, tells a story of human absurdity that would have made Chaplin proud.

    

    

    

    Because of the enormous influence of New German Cinema and the importance of Fassbinder himself, the film is already considered a classic. "Maria Braun" is its director's attempt to recount and assess postwar German history through the personal example of his main character, played brilliantly by Hanna Schygulla. It is also a tribute to the Hollywood directors of the women's movies of the thirties and forties. Maria, and in the loose allegory Fassbinder has constructed, Germany itself, in their cold acquisitiveness and materialism, melodramatically rise from the ashes of World War II only to veer toward an inevitable doom that takes the film full circle, recalling the film's opening shots of a city reduced to rubble. This volume contains the editor's introduction, a chronology of the the years 1943-1954, a biographical sketch of Fassbinder, the full transcript of the film as released, notes on the shooting script, interviews with the scriptwriter and director, commentary on Douglas Sirk by Fassbinder, reviews, commentaries by Thomas Elsaesser and Sheila Johnston, a filmography, and a bibliography.

    The riveting story of how actress Tippi Hedren, in the process of making a feature film as a plea to save wildlife, came to share her home and land with some 100 lions, tigers, leopards, cheetahs, and cougars.

    The only comprehensive book on film sound, this anthology makes available for the first time and in a single volume major essays by the most respected film historians, aestheticians, and theorists of the past sixty years.

    While credit for its genius has traditionally been attributed solely to its director, Orson Welles, Carringer's pioneering study documents the shared creative achievements of Welles and his principal collaborators. The Making of Citizen Kane, copiously illustrated with rare photographs and production documents, also provides an in-depth view of the operations of the Hollywood studio system. This new edition includes a revised preface and overview of criticism, an updated chronology of the film's reception history, a reconsideration of the locus of responsibility of Welles's ill-fated The Magnificent Ambersons, and new photographs.

    Frankenstein is persuaded by a colleague to create a woman to be the Monster's bride.

    He was named as a communist in 1951, and moved to England, where he worked for the rest of his life. Not until 1956, with his film Time Without Pity (1957), was he able to use his real name; the arm of the blacklist was long. With the exception of The Boy with the Green Hair (1948), Losey's U.S. films were all examples of film noir, the domain where the Hollywood left-wing excelled in its critique of an alienated and alienating society, where fate was economic and not mere bad luck... Sadly, from 1962 on, Losey's work became self-conscious and self-indulgent but delighted those who had understood nothing of his earlier movies. Only the exemplary King & Country (1964) and The Go-Between (1970) reach the level of his finest film noirs.

    Courageous, patriotic, outspoken, and decent, he personified the true American in the 153 movies he made, from his breakthrough as the mysterious Ringo Kid in Stagecoach to his Oscar-winning portrayal of Marshall Rooster Cogburn in True Grit.But there was much more to John Wayne than can be seen on the silver screen, and this biography, written by three personal friends of his, candidly reveals the real man behind the legend. From his three failed marriages to his notorious affairs with his leading ladies; from his hard-drinking, sometime abusive behavior to the heart-warming moments of kindness and charm; from his childhood as the son of a failed Iowa druggist to his meteoric rise to success to his gallant battle against cancer, here's what the "Duke" was really like -- with all the faults that made him human, and all the courage and honesty that made him one of Hollywood's most enduring stars.

    

    Adamson, author of several other books on film, including one on animator Tex Avery, here does a good job of informally recounting Lantz's life and career. The illustrative material is well chosen, and the book is generally well written. A few more dates in the text would have been helpful, however, and a filmography should have been appended. Despite Lantz's sterling personal qualities, his productions were usually of the second rank, and for most libraries the information in Leonard Maltin's Of Mice and Magic (LJ 9/1/80) will be sufficient. For special collections and large libraries, Adamson's book is a worthy addition. John Smothers, Monmouth Cty. Lib., Freehold, N.J.Copyright 1985 Reed Business Information, Inc

    It has been expanded to complete the story of the new Yugoslav cinema of the 1980s and to address major film developments that have taken place in the former Yugoslavia's five successor states. As in his analysis of past periods of Yugoslav cinema, Goulding situates the most recent developments within the context of film economics, state subsidies, and changing patterns of political control. Most significantly, however, he provides an insightful discussion of the ways in which critically important domestic feature films produced or co-produced from 1991 to 2001 reflect on recent brutal internecine warfare and other contemporary social, cultural, and political realities after the breakup of Yugoslavia.

    It's all here -- everything you'd ever want to know about the people who make movies, and more:Personal data on actors past and present, including their real namesAcademy Award winners and nomineesDates when films were completed and first shownTitles of films as they are known in their country of originComplete filmographies for many actorsPlusEntertaining quotations from actors, directors and critics from around the worldHundreds of individual entries on popular film themes, from automobiles and baseball to volcanoes and zombiesThe Halliwell "rosette," awarded for significant work in the cinema world to people with remarkable talentsAnd much more.The ultimate reference book for people who love movies, this new edition of "Halliwell's Filmgoer's and Video Viewer's Companion" is a fun, fact-filled compendium that fans will find harder than ever to put down.

    Now Robert Phillip Kolker gives us the first full length study of this major filmmaker. Although Bertolucci has made only nine feature films to date, these works testify to the complexity of his cinematic imagination. Kolker examines the films from a number of perspectives: historical, formal, and aesthetic. He analyzes Bertolucci's work in relation to that of his mentor, Pier Paolo Pasolini, and looks at his on-going aesthetic struggle with the key figure of modern cinema, Jean-Luc Godard. Closely scrutinizing the form and content of each film, Kolker emphasizes Bertolucci's experiments with narrative as well as his political, psychological, domestic, and sexual themes. Bertolucci's complex use of operatic, painterly, and literary references--especially to Verdi, Bacon, Magritte, and Borges--reveive special notice. More than a study of a single filmmaker, Bertolucci examines cinema as a synthesizing art, able to draw upon influences from many disciplines in its effort to explore history and the unconscious. The book also serves as a study of modern cinema's movement and direction over the past twenty years.About the Author: Robert Phillip Kolker is Professor of Film Studies at the University of Maryland. His previous books are A Cinema of Loneliness and The Altering Eye.

    

    Ray examines the ideology of the most enduringly popular cinema in the world--the Hollywood movie. Aided by 364 frame enlargements, he describes the development of that historically overdetermined form, giving close readings of five typical instances: Casablanca, It's a Wonderful Life, The Man Who Shot Liberty Valance, The Godfather, and Taxi Driver. Like the heroes of these movies, American filmmaking has avoided commitment, in both plot and technique. Instead of choosing left or right, avant-garde or tradition, American cinema tries to have it both ways.Although Hollywood's commercial success has led the world audience to equate the American cinema with film itself, Hollywood filmmaking is a particular strategy designed to respond to specific historical situations. As an art restricted in theoretical scope but rich in individual variations, the American cinema poses the most interesting question of popular culture: Do dissident forms have any chance of remaining free of a mass medium seeking to co-opt them?

    

    Boyum, former film critic for The Wall Street Journal, answers this question. Through penetrating analyses of 17 films, she provides a fascinating, in-depth look into the language of film.

    Here is your guide to becoming a Ghostbuster.