Displaced persons. Some of them eventually settle down and grow new roots; others continue travelling, waiting, dreaming or returning home. This book is a first hand account of the life, thoughts and feelings of a displaced person. It's a painful record of one person's experiences in a Nazi forced labor camp;five years in displaced persons camps;and the frist years as a young Lithuanian immigrant in New York City.

    But beneath the glamour was a real and complicated man - surprisingly vulnerable, unabashedly romantic, often exacting perfectionist who rose above a traumatic childhood and failed marriages to become an incomparable Hollywood legend. In this sublimely truthful and candid portrait, biographer Nancy Nelson draws on interviews with Grant, as well as material from his personal papers, along with loving, revelatory reminiscences from some of his closest friends and loved ones - including Katharine Hepburn, Gregory Peck, Audrey Hepburn, Elizabeth Taylor, Sophia Loren, Quincy Jones, James Stewart, and many more - to reveal the vaudevillian, actor, lover, and father. With a treasury of both well-loved and rarely seen photographs and a foreword by Grant's wife, Barbara, and daughter, Jennifer, this is the definitive biography of one of the screen's greatest stars.

    In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact.From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho).Film was not the only medium in which Herrmann made a powerful mark. His radio broadcasts included Orson Welles's Mercury Theatre on the Air and The War of the Worlds. His concert music was commissioned and performed by the New York Philharmonic, and he was chief conductor of the CBS Symphony.Almost as celebrated as these achievements are the enduring legends of Herrmann's combativeness and volatility. Smith separates myth from fact and draws upon heretofore unpublished material to illuminate Herrmann's life and influence. Herrmann remains as complex as any character in the films he scored—a creative genius, an indefatigable musicologist, an explosive bully, a generous and compassionate man who desperately sought friendship and love.Films scored by Bernard Herrmann: Citizen Kane, The Ghost and Mrs. Muir, Vertigo, Psycho, Fahrenheit 451, Taxi Driver, The Magnificent Ambersons, The Man Who Knew Too Much, North By Northwest, The Birds, The Snows of Kilimanjaro, Cape Fear, Marnie, Torn Curtain, among others

    How could it lose? But instead Salamon got a front-row seat at the Hollywood disaster of the decade. She shadowed the film from its early stages through the last of the eviscerating reviews, and met everyone from the actors to the technicians to the studio executives. They'd all signed on for a blockbuster, but there was a sense of impending doom from the start--heart-of-gold characters replaced Wolfe's satiric creations; affable Tom Hanks was cast as the patrician heel; Melanie Griffith appeared mid-shoot with new, bigger breasts. With a keen eye and ear, Salamon shows us how the best of intentions turned into a legendary Hollywood debacle.The Devil's Candy joins John Gregory Dunne's The Studio, Steven Bach's Final Cut, and William Goldman's Adventures in the Screen Trade as a classic for anyone interested in the workings of Hollywood. With a new afterword profiling De Palma ten years after the movie's devastating flop (and this book's best-selling publication), Julie Salamon has created a riveting insider's portrait of an industry where art, talent, ego, and money combine and clash on a monumental scale.

    The former is a psychological thriller set in the Hollywood of the 1940s, while the latter reinvents the 1930s gangster film.

    Camera assistants (or first and second ACs, as they're known) have the important job of maintaining the camera, readying it for use, troubleshooting (such as knowing what to do when a camera drops into the ocean), and preparing it for transport. The Camera Assistant's Manual teaches the complete workflow in easy-to-understand terms and does not assume prior knowledge. It is a must-have on the set for camera assistants and is loaded with reference material such as camera illustrations, forms, charts, checklists, and equations. Invaluable career advice rounds out the book. . New companion website with extensive forms, charts, and illustrations to print out and use. Completely updated with information on digital video and high definition cameras that are changing the camera assistant's job. Career tips and complete job descriptions help camera assistants get and succeed at jobs. Companion website: www.cameraassistantmanual.com. Author's site: www.davidelkins.com

    Dick's Do Androids Dream of Electric Sheep? Essays consider political, moral and technological issues raised by the film, as well as literary, filmic, technical and aesthetic questions. Contributors discuss the film's psychological and mythic patterns, importance political issues and the roots of the film in Paradise Lost, Frankenstein, detective fiction, and previous science fiction cinema.

    Jonathan Gates could not have anticipated that his student studies would lead him to uncover the secret history of the movies—a tale of intrigue, deception, and death that stretches back to the 14th century. But he succumbs to what will be a lifelong obsession with the mysterious Max Castle, a nearly forgotten genius of the silent screen who later became the greatest director of horror films, only to vanish in the 1940s, at the height of his talent. Now, 20 years later, as Jonathan seeks the truth behind Castle's disappearance, the innocent entertainments of his youth—the sexy sirens, the screwball comedies, the high romance—take on a sinister appearance. His tortured quest takes him from Hollywood's Poverty Row into the shadowy lore of ancient religious heresies. He encounters a cast of exotic characters, including Orson Welles and John Huston, who teach him that there's more to film than meets the eye, and journeys through the dark side of nostalgia, where the Three Stooges and Shirley Temple join company with an alien god whose purposes are anything but entertainment.

    Three plots then alternate through the play. In one, Caliban falls in with Stephano and Trinculo, two drunkards, whom he believes to have come from the moon. They attempt to raise a rebellion against Prospero, which ultimately fails. In another, Prospero works to establish a romantic relationship between Ferdinand and Miranda; the two fall immediately in love, but Prospero worries that "too light winning [may] make the prize light", and compels Ferdinand to become his servant, pretending that he regards him as a spy. In the third subplot, Antonio and Sebastian conspire to kill Alonso and Gonzalo so that Sebastian can become King. They are thwarted by Ariel, at Prospero's command. Ariel appears to the "three men of sin" (Alonso, Antonio and Sebastian) as a harpy, reprimanding them for their betrayal of Prospero. Prospero manipulates the course of his enemies' path through the island, drawing them closer and closer to him.In the conclusion, all the main characters are brought together before Prospero, who forgives Alonso. He also forgives Antonio and Sebastian, but warns them against further betrayal. Prospero indicates that he intends to entertain them with the story of his life on the island. Prospero has resolved to break and bury his magic staff, and "drown" his book of magic, and in his epilogue, shorn of his magic powers, he invites the audience to set him free from the island with their applause.

    Writing from the perspective of Lower Manhattan, the author places movies in the context of the other visual arts painting, photography, comics, video, and TV as well as that of postmodem theorists such as Leslie Fiedler and Jean Baudrillard.

    In Tom Stoppard's best-known work, this Shakespearean Laurel and Hardy finally get a chance to take the lead role, but do so in a world where echoes of Waiting for Godot resound, where reality and illusion intermix, and where fate leads our two heroes to a tragic but inevitable end.

    B&W photos. 7" x 9 7/8".

    In one essay, taking off from ideas raised earlier by Zora Neale Hurston, Trinh considers with astonishment the search by Western "experts" for the hidden values of a person or culture, a process of legitimized voyeurism that, she argues, ultimately equates psychological conflicts with depth, while inner experience is reduced to mere personal feeling.When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. Feminist struggle is heterogeneous. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already." She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks to "beat the master at his own game."

    Surprisingly, one of Marilyn's closest friends during the last eight years of her life was teenager James Haspiel, who is now considered one of the foremost experts on the life of this mysterious goddess. 145 photographs, 20 in color.

    "This is a book that makes me want to don a gorilla suit and rip apart a blonde with my bare claws. It's a true history of my artistic idols: the mad doctors and maniacal magicians who toured with live midnight fright shows, and scared the bejeezus out of hormone-pumped teenagers on dates. In my opinion, an absolute must-read for horror and magic fans." --Teller of Penn & Teller

    A cultural and social history that places Yiddish-language cinema in the contexts of 20th-century Jewish history, the history of motion pictures and the development of Yiddish secular cuture.

    

    Organized to provide historical continuity and to trace professional collaborations among the subjects, Selected Takes features editors whose credits include such diverse films as Ben Hur, The French Connection, The Godfather, and E.T.Each chapter includes a brief introduction to the artist, background information, a filmography of feature-length works, and personal recollections of specific films, producers, and directors, as well as helpful comments on editing techniques. A glossary of terms commonly used in film editing and pertinent references found in the interviews complement the work. Film students, scholars, and educators, as well as film industry professionals and moviegoers, will find Selected Takes both entertaining and instructive.

    Each

    Charlie Chaplin's One-Man Show is a penetrating analysis of the masterpieces which have cast their spell over generation after generation of moviegoers.For the first time a professional mime gives an insider's view of Chaplin's craft, demonstrating how Chaplin transformed his genius at stage mime into a staggering cinematic achievement.Kamin shows how Chaplin's physical virtuosity led him to create the hilarious comedy which brought silent films to their peak. He examines Chaplin's later films, which integrate mime and verbal comedy in inventive ways, and reveals Chaplin's methods for attaining the clarity and immediacy which have made his films timeless. The world of Charlie Chaplin has never been more vividly depicted, making this book a fascinating excursion for Chaplin fans and movie buffs alike.Dan Kamin trained Robert Downey, Jr. for his Oscar-nominated performance in Chaplin and created Johnny Depp's physical comedy routines in Benny and Joon. He performs his own comedy shows in theatres and with symphony orchestras worldwide.

    The Passion of Joan of Arc, Vampyr, Day of Wrath, Ordet and Gertrud are among the best-known works of this rigorous, austere and powerful film-maker.

    The Commonwealth of Massachusetts took Wiseman to court, seeking to prevent the exhibition of Titicut Follies soon after its release in 1967.This account of the Titicut Follies case is based on ten years of research and relies on interviews, journalistic accounts, and especially on the legal record, including the Commonwealth v. Wiseman transcript, to describe the entire process of independent documentary filmmaking. The trials of Titicut Follies raise crucial questions about the relation of social documentary to its subjects and audiences.

    The author explores the nature of expressionism, which is generally agreed to have ended with the advent of sound, and its persistence in the styles of such modern masters of film noir as Orson Welles and Ingmar Bergman. In considering the possibility of homologies between the necessary silence of pre-sound cinema and the widespread modernist aspiration to an aesthetic of silence, Coates relates theories of the sublime, the uncanny, and the monstrous to his subject. He also reflects upon problems of representability and the morality of representation of events that took place during the Nazi era.

    Long before her association with John Lennon, her performances, music, films, and objects stirred controversy and admiration. Using never-before-seen photographs, authors' narratives, and Ono's own words, this book provides the broadest overview of Ono's creative accomplishments and personal philosophy ever published. It spotlights an artistic career of notoriety, flamboyance, and distinction.

    Calabash, wherever you are! Now Jhan Robbins, a friend of Jimmy Durante's for over 20 years, shakes down the memories of this immortal entertainer. Photographs.

    Available in English for the first time, Anne Gillain's Francois Truffaut: The Lost Secret is considered by many to be the best book on the interpretation of Truffaut's films. Taking a psycho-biographical approach, Gillain shows how Truffaut's creative impulse was anchored in his personal experience of a traumatic childhood that left him lonely and emotionally deprived. In a series of brilliant, nuanced readings of each of his films, she demonstrates how involuntary memories arising from Truffaut's childhood not only furnish a succession of motifs that are repeated from film to film, but also govern every aspect of his mise en scene and cinematic technique.

    Yet beneath the surface run common currents-a penchant for choosing risky projects, recurring problems with typecasting, a gift for fleshing out underwritten roles. Even the famous twitch runs in the family. Illustrated with more than 100 photos, this comprehensive, chronological survey of the careers of Osgood and Anthony Perkins includes not only all of their film and Broadway performances but also virtually all road, summer stock, radio and television work. Even their formative years in college productions are covered, as are Anthony's brief stints as pop singer, director, screenwriter and songwriter. Extensive credits are cited for each work. Quotes and reminiscences are interwoven into the text, written in an essay format.

    Among its complicated implications for filmmakers was a stigmatization of film spectacle--including the display of Hollywood women, whose extravagant appearance connoted at best unpatriotic wastefulness and at worst collaboration with the enemy. Exploring the wartime breakdown of conventional gender roles on the screen and in the audience, Antonia Lant demonstrates that many British films of the period signaled their national cinematic identity by diverging from the notion of the Hollywood star, the mainstay of commercial American motion pictures, replacing her with a deglamourized, mobilized heroine. Nevertheless, the war machine demanded that British films continue to celebrate stable and reassuring gender roles. Contradictions abounded, both within film narratives and between narrative and real life. Analyzing films of all the major wartime studios, the author scrutinizes the efforts of realist and melodramatic texts to confront women's wartime experiences, including conscription. By combining study of contemporary posters, advertisements, propaganda notices, and cartoons with consideration of recent feminist theoretical work on the cinema, spectatorship, and history, she has produced the first book to examine the relationships among gender, cinema, and nationality as they are affected by the stresses of war.Originally published in 1991.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    Soviet cinema underwent a revolution, one that mirrors and helps interpret the social revolution that took place throughout the USSR. Glasnost--Soviet Cinema Responds is the first overall survey of the effects of this revolution on the work of Soviet filmmakers and their films.The book is structured as a series of three essays and a filmography of the directors of glasnost cinema. The first essay, "The Age of Perestroika," describes the changes that occurred in Soviet cinema as it freed itself from the legacy of Stalinism and socialist realism. It also considers the influence of film educator and director Mikhail Romm. "Youth in Turmoil" takes a sociological look at films about youth, the most dynamic and socially revealing of glasnost-era productions. "Odysseys in Inner Space" charts a new direction in Soviet cinema as it focuses on the inner world of individuals.The filmography includes thirty-three of the most significant glasnost-era directors, including Tengiz Abuladze, Karen Shakhnazarov, and Sergei Soloviev, with a comprehensive list of their films. Discussions of many individual films, such as Repentance, The Messenger Boy, and The Wild Pigeon, and interviews with the directors reveal the effects that glasnost and perestroika have had on the directors' lives and art.

    This focused volume is a scaled-down version of Vincent Kehoe's encyclopedic reference for professional make-up artists. It contains new segments and photographs. This book shows how many of cinema's most famous characters and effects were developed. It gives students and make-up artists the techniques they need to perform their own magic.

    Will solidify the way in which film scholars, critics, and teachers conceive of not only Griffith's crucial contributions to film history but all early filmmaking in the U.S."- David Dresser"An all-encompassing vision of D.W. Griffith's early work. Gunning's study is full of new information and places the Biographs in a lucid historical-critical context that will serve any future scholar who ventures into the realm of early cinema."- Joyce E. Jesionowski

    She builds this case through inquiry into many unexpected and delightfully germane subjects - Marilyn Monroe's walk, for instance, or the dwarf manicurist Miss Mowcher in David Copperfield, or the shoulder blades of Degas's bathers. Placing such particulars within the framework of Plato's myth of the divided beings and psychoanalytic concepts of narcissism, Lesser sets before us an art that responds to and even attempts to overcome division.

    Since then he has become the most talked about but least understood artist of the late 20th century. Warhol made acceptable the use of industrial techniques in the creation of paintings obsessed with modern clichés—car crashes, Coke bottles, sex symbols such as Marilyn Monroe and Liz Taylor. At the same time, his films—Blowjob, Sleep, Chelsea Girls, Lonesome Cowboys—forced us to look at the object/subject, transformed the bizarre into the banal, and remade the form and content of cinematic experiment and production.Originally published in 1971, Peter Gidal’s Andy Warhol was the first book written on Warhol’s films and paintings, a concise and astute analysis of an artistic revolution. ”Idol of the jet set,” ”trend-maker,” superstar, Warhol was taken at more than face value in Gidal’s unconventional and insightful exploration. Twenty years later, Andy Warhol remains a seminal text, essential for a serious understanding of the artist and the work.

    From John Wayne to John Waters, from Buster Keaton to Lawrence Kasdan, The Encyclopedia of Film offers the final word on movies and the movie business.