Van Sant says we can see how badly Damon drives by watching the film's last scene, in which he is actually driving the car with the camera mounted on it. But Damon and company write better than he drives; this script contains some of the boldest, best monologues since Pulp Fiction.Van Sant and cast member Robin Williams helped the young actors tame the tigers in their cranial tanks, trimming the script into a precision instrument. Though the stills from the film are not perfectly matched to their places in the script, this story remains as much a joy to read as it is towatch on the big screen.

    Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.

    Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.

    In this chronicle of Hollywood and the art of making movies, Peter Bogdanovich (director, screenwriter, actor and critic) interviews 16 directors, including: Robert Aldrich; George Cukor; Howard Hawks; Alfred Hitchcock; Fritz Lang; Sidney Lumet; Otto Preminger; and Josef von Sternberg.

    Author royalties donated to the Motion Picture and Television Fund.

    She was the first woman to twice win an Academy Award for screenwriting. From 1916 to 1946 she wrote over two hundred scripts covering every conceivable genre for stars such as Mary Pickford, Gary Cooper, Greta Garbo, Marion Davies, Rudolph Valentino, Clark Gable, Marion Davies, Rudolph Valentino, Clark Gable, and Marie Dressler. Irving Thalberg "adored her and trusted her completely, " William Randolph Hearst named her for the head of west coast production for his Cosmopolitan studios, and in 1928, Sam Goldwyn raised her salary to an unparalleled $3,000 a week. Her stories were directed by George Cukor, John Ford, Alan Dwan, and King Vidor, and she went on to direct and produce a dozen films on her own. On top of all this, she painted, sculpted, spoke several languages fluently, and played "concert caliber" piano. Though she married four times, had two sons, and a dozen lovers, Frances's life story is mostly the story of her female friendships. As talented, successful, and prolific as Frances Marion was, these relationships were as legendary as her scripts. Without Lying Down is an eminently readable and meticulously documented portrait of a previously hidden era that was arguably one of the most creative and supportive for women in American history.

    Through hours of exclusive interviews with George Lucas and others involved in crafting the original trilogy, Laurent Bouzereau has uncovered the complex process through which life was breathed into the legendary Star Wars saga.

    Clerks was the independent film success story of 1994, winning the Prix de la Jeunesse and the International Critics Week Award at Cannes, and the Filmmakers' Trophy at Sundance. Set in the everyday world of a New Jersey QuickStop and its adjacent video store, the film revolves around the obsessions, love lives, and friendships of the clerks. Janet Maslin of the New York Time called it "a buoyant comedy...and exuberant display of ingenuity," and Kenneth Turan of the Los Angeles Times raves, "Clerks is boisterous and irreverently funny...an example of what is best and most hopeful about the American independent film scene."

    This work also covers various political and social subtexts of the movies.

    Racial imagery and racial representation are central to the organisation of the contemporary world but, while there are many studies of images of black and Asian people, whiteness is an invisible racial position. At the level of racial representation, whites are not of a certain race. They are just the human race, a 'colour' against which other ethnicities are always examined.In White, Richard Dyer looks beyond the apparent unremarkability of whiteness and argues for the importance of analysing images of white people. Dyer traces the representation of whiteness by whites in Western visual culture, focusing on the mass media of photography, advertising, fine art, cinema and television.Dyer examines the representation of whiteness and the white body in the contexts of Christianity, 'race' and colonialism. In a series of absorbing case studies, he discusses the representations of whiteness in muscle-man action cinema, from Italian 'peplum' movies to the Tarzan and Rambo series; shows the construction of whiteness in photography and cinema in the lighting of white and black faces, and analyses the representation of white women in end-of-empire fictions such as The Jewel in the Crown, and traces the disturbing association of whiteness with death, in vampire narratives and dystopian films such as Blade Runner and the Aliens trilogy.

    Instead of adultery and divorce, he uncovers a conspiracy reaching to the economic foundations of Los Angeles. Set in the 1930s, the film was directed by Roman Polanski and stars Jack Nicholson, Faye Dunaway, and John Huston.

    But over the years, Humphrey Bogart has remained an enigma, despite what we have learned of him from wife Lauren Bacall's own fond memories and from the various biographies that have appeared over the years since his death in 1957. With Bogart, this wonderful enigma is brought under the light as never before. Although authors Ann M. Sperber and Eric Lax never met, Bogart is a unique collaboration, combining the strengths of two prize-winning biographers. Sperber, the author of the New York Times best-selling Pulitzer-Prize finalist Murrow: His Life and Times (1986), spent seven years before her death in 1994 amassing a vast archive of original research on the life and times of Humphrey Bogart, including more than 200 interviews she conducted with people who had known and worked with him, including Katharine Hepburn and John Huston. Eric Lax, whose Woody Allen was a national bestseller in 1991, took over the project after Sperber's death and spent two years completing it. The result is the definitive portrait of the actor who merged his screen anti-heroism with his own staunch personal integrity in a manner new to Hollywood, fashioning a persona as timely today, forty years after his death, as it was during his own life.

    In that period, heralded by the words of Al Jolson in The Jazz Singer, fortunes were made and lost, and the American film industry came fully into its own.

    Hundreds of film stills, many in color, plus dialogue, quotations, and other sources add to and illustrate each chapter's overriding theme.

    It's easy to see why Mr. Martin, who wrote the film...was moved to reinvent this role...Mr. Martin's screenplay is bighearted and funny.' The New York Times

    

    A spectacular tribute to one of the great movie studios in its heyday. 500 illustrations, 100 in full color. Companion to the TNT mini-series coming in March, 1992.

    A woman who played children, wide-eyed and gamine. Skipping around in frills and cute curls. That’s how most people remember Mary Pickford. In reality, as Eileen Whitfield makes clear, Mary Pickford is a towering figure in movie history.Born in Toronto in 1892, Pickford began acting as a child, helping support her family after her father’s accidental death. She switched from stage to film at age 17, joining D.W. Griffith’s Biograph company, and became almost unimaginably popular. This allowed her to develop her own production company at Adolph Zukor’s Famous Players, and in 1919 she co-founded (along with D.W. Griffith, Charlie Chaplin, and her husband Douglas Fairbanks) United Artists, seizing not only creative control but also the marketing and distribution of her films.Eileen Whitfield recreates Pickford’s life in meticulously researched detail, from her trying days in turn-of-the-century Toronto to her reign as mistress of Pickfair, the legendary Los Angeles estate at which she and Fairbanks entertained the world’s elite, to her sadly moving demise. Along the way, Whitfield explores the intricate psychology that tied Pickford to her mother throughout her life, and analyzes Pickford’s brilliant innovations in the art of film acting; her profound influence on the movie business (paving the way for such powerful Hollywood women as Jodie Foster and Whoopi Goldberg); and her role in the history of fame (she was the object of a mass adoration that prefigured today’s cult of celebrity).Eight years in the making, Pickford: The Woman Who Made Hollywood is definitive biography. It brings Pickford to life as a complex knot of contradictions and establishes her as a ground-breaking genius, casting new light on one of the influential – and least understood – artists in the history of popular culture.Pickford was the subject of lengthy, appreciative features in The New Yorker and Film Comment, and was the basis of two television documentaries: on the Canadian Broadcasting Corporation’s “Life and Times” and on the History Channel.

    Drawing on a wide variety of films and primary source materials including censorship files, critical reviews, promotional materials, fanzines, men's magazines, and popular news weeklies, the book examines the historical figure of the movie monster in relation to various medical, psychological, religious and social models of homosexuality. While recent work within gay and lesbian studies has explored how the genetic tropes of the horror film intersect with popular culture's understanding of queerness, this is the first book to examine how the concept of the monster queer has evolved from era to era. From the gay and lesbian sensibilities encoded into the form and content of the classical Hollywood horror film, to recent films which play upon AIDS-related fears. Monster in the Closet examines how the horror film started and continues, to demonize (or quite literally "monsterize") queer sexuality, and what the pleasures and "costs" of such representations might be both for individual spectators and culture at large.

    The next day, a dazed and confused Pete Dayton is found in Madison's cell. Dayton has no memory of how he came to be there. Madison has gone missing. What follows may be reality or it may be part of a highly organized hallucination that Fred Madison is undergoing. Lost Highway refuses to yield its secrets readily. It communicates, not just through words, but through images and - most of all - through the mental states these words and images conjure up.

    Original illustrations by Mike and George Kuchar and a selection of never-before-seen photos. Includes filmography, bibliography and index.

    250 color posters.

    From features, made-for-televsion, and straight-to-video, here are all the films you love and hate; the films you forgot about and never knew existed. Horror and science fiction fans will find films that matter and films that splatter in one critical and humorous guide.Featuring * Thousands of capsulized reviews * A five-star rating system * Hundreds of obscure and rare titles * Video distribution informaton (including mail order) *Cross-references to secondary titles, sequels and tricky retitlings * And more.

    Szulkin's book tells the inside story of the making of this landmark film through in-depth interviews, rare photographs and extensive research. Featuring stills from unreleased out-takes and commentary from Wes Craven, this book is the definitive record of one of the most legendary, iconoclastic horror movies in history. Now in a fully revised, updated and expanded second edition - with a contracted price too (gasp!).

    Studios, this album features authentic animation art of everyone's favorite characters. More than 300 color illustrations trace the evolution of the uniquely American art form through the development and growth of the Warner Bros.

    It documents Doyle's everyday experiences on the set of the film, and each page is an entry penned by Doyle himself and accompanied by incredible photographs of behind the scene moments on set and various locations in Argentina.

    "Combat!" was television's longest-running World War II drama and honored the frontline U.S. infantryman. The book includes comments from Rick Jason ("Lt. Hanley"), Dick Peabody ("Littlejohn"), Tom Lowell ("Billy Nelson"), Pierre Jalbert ("Caje"), Conlan Carter ("Doc"), Jack Hogan ("Kirby"), director Robert Altman, Robert Blees, Georg Fenady, special effects wizard A.D. Flowers, and stuntman Earl Parker. The book has production notes, backstage stories, recollections of the actors, bloopers, reviews of all 152 episodes, and photos. A section of color photos of "Combat!" collectibles is also included. The compendium is printed on high-quality paper, with a gloss color cover and over 150 photos throughout (both black-and-white and color). Softbound, 8-1/2 by 11 inches. Foreword by Rick Jason.

    There are production stills and in-depth accounts of the worldwide acclaim and financial success following the release of The Godfather. The study also details the production and release of The Godfather Part II and The Godfather Part III.

    He is credited with almost single-handedly establishing the study of film as an accepted intellectual pursuit, as well as with being the spiritual father of the French New Wave. Bazin at Work is the first English collection of disparate Bazin writings since the appearance of the second volume of What Is Cinema? in 1971. It includes work from Cahiers le cinema (which he founded and which is the most influential single critical periodical in the history of the cinema) and Esprit. He addresses filmmakers including Rossellini, Eisenstein, Pagnol, and Capra and well-known films including La Strada, Citizen Kane, Scarface, and The Bridge on the River Kwai.

    This is an exploration of the supernatural horror film, providing a detailed analysis of individual films, concentrating on the golden age of horror films, from the earliest Universal talkies and the B movies produced for RKO, to an in-depth examination of Robert Wise's The Haunting, made in 1963.

    This title reveals the ideas and personality of this artist.

    They were sculptors, architects, and stage and costume designers, and were enamored of the film and montage theories developed in the suddenly burgeoning Soviet film industry. As seen in this book's superb colorplates, they brought to film poster design an extraordinary compositional dynamism, originality, and contrast of scale, employing many of the artistic conventions of the Constructivist movement to great effect.

    Close analysis of individual films such as The Cook, The Thief, His Wife and Her Lover, Belly of an Architect and Drowning by Numbers together with a discussion of his latest film The Pillow Book (1996) and recent interviews between Greenaway and Alan Woods about his work, make this book a must for all Greenaway enthusiasts.

    Rosenbaum, widely regarded as the most gifted contemporary American commentator on the cinema, explores the many links between film and our ideological identities as individuals and as a society. Readers will find revealing examinations of, for example, racial stereotyping in the debates surrounding Do the Right Thing, key films from Africa, China, Japan, and Taiwan, Hollywood musicals and French serials, and the cultural amnesia accompanying cinematic treatments of the Russian Revolution, the civil rights movement, and the Vietnam War. From Schindler's List, Star Wars, Pulp Fiction, Forrest Gump, The Piano, and Ace Ventura: Pet Detective to the maverick careers of Orson Welles, Jacques Tati, Nicholas Ray, Chantal Akerman, Todd Haynes, and Andrei Tarkovsky, Rosenbaum offers a polemically pointed survey that makes clear the high stakes involved in every aspect of filmmaking and filmgoing.

    Example and antagonist to generations of artists and performers?revered by Robert Wilson, denounced by Kenneth Anger, imitated by Andy Warhol?Jack Smith is ready for his close-up, on location in the streets and ruins of the world. This volume recognizes Smith?s seminal contributions and the need for a significant rethinking of the history of the American avant-garde.

    David Pascoe examines not only Greenaway's films, but also his paintings, exhibitions and installations."[Pascoe] tirelessly explicates the numerology and mytho-mania that are the film-maker's organising principles"—The Guardian"A supremely intelligent, utterly tuned-in, definitive exploration of the ultimate British auteur's back catalogue, helpfully illustrated at every opportunity. . . illuminating"—Empire

    The climactic lunch party exposes skeletons in the family closet and leaves the characters shattered, but renewed.

    He later moved to Hollywood, where he had major box-office successes with Robocop, Total Recall and Basic Instinct.

    Who was Ghoulardi? If you grew up watching TV in Cleveland in the 1960s, you definitely remember. If you live in Cleveland today, you hear about him still. In early 1963, months before the Beatles arrived in America and years before Howard Stern hit the radio airwaves, Cleveland TV actor Ernie Anderson pioneered the modern counter-culture media celebrity: Ghoulardi. His offbeat late-night movie show was so popular locally that it got ratings higher than the Tonight Show, and the Cleveland police department reported a significant decrease in crime during its broadcast. Ghoulardi continues to capture the hearts and minds of Cleveland's first TV generation and is riding a wave of nostalgia. Ghoulardi creator Ernie Anderson's recent obituary was the page-one feature in both of northeast Ohio's major dailies and the lead item on all local TV news shows. Ghoulardi memorabilia are regular set props on the popular TV sitcom The Drew Carey Show. Ghoulardi tee-shirts still sell even though the show has been off the air for more than 30 years. This book tells the on-screen and behind-the-scenes story of the Ghoulardi show and its unusual creator with biographical sketches, trivia, photos, original scripts, and other memorabilia. A national Ghoulardi convention is planned for October 1997 in Cleveland.

    After the tremendous impact of Public Enemy - in which he notoriously pushed half a grapefruit into Mae Clarke's face - he was typecast as a gangster because of the terrifying violence that seemed to be pent up within him. Years of pitched battle with Warner Brothers finally liberated him from those roles, and he went on to star in such triumphs as the musicals Yankee Doodle Dandy (winning the 1942 Oscar for best actor) and Love Me or Leave Me. Even so, one of his greatest later roles involved a return to crime - as the psychopathic killer in the terrifying White Heat. He retired from films in 1961 after making Billy Wilder's One, Two, Three, only to return twenty years later for Ragtime. But however much Cagney personified violence and explosive energy on the screen, in life he was a quiet, introspective, and deeply private man, a poet, painter, and environmentalist, whose marriage to his early vaudeville partner was famously loyal and happy. His story is one of the few Hollywood biographies that reflect a fulfilled life as well as a spectacular career.

    It shows how the means of communicating grew out of their eras, how they developed, how they influenced the societies of those eras, and how they have continued to exert their influence upon subsequent generations. The book is divided into six periods which are identified as 'Information Revolutions' writing, printing, mass media, entertainment, the 'toolshed' (which we call 'home' now), and the Information Highway. In looking at the ways in which the tools of communication have influenced and been influenced by social change, A History of Mass Communication provides students of media and journalism with a strong sense of the way their chosen field affects how society functions. Providing a broad-based approach to media history, Dr. Fang encourages the reader to take a careful look at where our culture is headed through the tools we use to communicate with one another.A History of Mass Communication is not only the most current text on communication history, but also an invaluable resource for anyone interested in how methods of communication affect society.

    Sometime partner of the eccentric Howard Hughes, drinking buddy of William Faulkner and Ernest Hemingway, an inveterate gambler and a notorious liar, Hawks was the most modern of the great masters and one of the first directors to declare his independence from the major studios. He played Svengali to Lauren Bacall, Montgomery Clift, and others, but Hawks's greatest creation may have been himself.As The Atlantic Monthly noted, "Todd McCarthy . . . has gone further than anyone else in sorting out the truths and lies of the life, the skills and the insight and the self-deceptions of the work." "A fluent biography of the great director, a frequently rotten guy but one whose artistic independence and standards of film morality never failed." -- The New York Times Book Review; "Hawks's life, until now rather an enigma, has been put into focus and made one with his art in Todd McCarthy's wise and funny Howard Hawks." -- The Wall Street Journal; "Excellent . . . a respectful, exhaustive, and appropriately smartass look at Hollywood's most versatile director." -- Newsweek.

    An autobiography that is both shocking and poignant, Totem of the Depraved chronicles the life and thoughts of the founder of the most radical film movement of the 80's.

    Baker vividly chronicles the experience of seeing his first screenplay produced, derived from a diary kept during two years of down-and-dirty filmmaking with Bruce McDonald on the film "Hard Core Logo". "This is the most absorbing account of getting a move made in this country...It's funny, perceptive, and compelling".--Atom Egoyan.

    With the "Godzilla" movies (1954-1995) at the center of it all, Galbraith has assembled a virtual "Who's Who" of filmography and interviews of the major players in this rising cult world of the fire-breathing lizard. 156 photos. 32 illustrations.

    Zanuck was astonishing and unparalleled. With The Jazz Singer he supervised the innovation of film sound. With The Public Enemy and Little Caesar he reinvented the gangster film. With 42nd Street he reinvigorated the musical. He set the standard for film biography with pictures such as Young Mr. Lincoln and The Story of Alexander Graham Bell . He innovated CinemaScope. And he molded the star images of James Cagney, Shirley Temple, Tyrone Power, Betty Grable, Marilyn Monroe, and Rin Tin Tin.In this major new biography, George F. Custen illuminates Zanuck's evolution into one of the most influential producers in American film. He explains what set him apart from rivals Irving Thalberg and David O. Selznick, how he developed the gritty realism that came to redefine motion pictures, and how he brilliantly predicted and capitalized on changing public tastes.Zanuck was a man of enormous energy and eccentricity, commanding his studio with a sawed-off polo mallet. Dozens of his memorable films—including I Am a Fugitive from a Chain Gang , The Grapes of Wrath, Gentleman's Agreement, All About Eve, The Day the Earth Stood Still , and The Robe —have come to represent the era in which they were made. Hard-boiled or nostalgic, historical or pure Hollywood, Zanuck's films and Zanuck himself have become legends of the cinema. But what exactly was this producer's contribution to the films he made? How did he rise from being a writer of silent serials to become head of production at Warner Brothers by his mid-twenties, and then to form his own studio, Twentieth Century-Fox at age thirty-three?Twentieth Century's Fox tells the whole story—from Zanuck's boyhood to his tumultuous years with the feuding Warners, his battles with the censors and with his own actors, and the legendary acting-out of scenes during story conferences in his famous green office. Along the way, Custen treats us to inside stories about actors such as Edward G. Robinson, Gregory Peck, and Marilyn Monroe. In never-before-published story conference notes, telegrams, and surprisingly candid anecdotes, he reveals how—more than any producer before or since—this diminutive, enigmatic fellow from Wahoo, Nebraska, changed the way we look at film.Custen highlights the studio as the context of production. Zanuck's ability to shape the producer's role and the organizational style during the golden years of the studio system—with its own peculiar methods, clearly delineated rules, and pecking order—was the crucible out of which he forged a unique vision of American film and American culture.

    He joined Budapest's National Theater in 1913 and later appeared in several Hungarian films under the pseudonym Arisztid Olt. After World War I, he helped the Communist regime nationalize Hungary's film industry, but barely escaped arrest when the government was deposed, fleeing to the United States in 1920. As he became a star in American horror films in the 1930s and 1940s, publicists and fan magazines crafted outlandish stories to create a new history for Lugosi. The cinema's Dracula was transformed into one of Hollywood's most mysterious actors. This exhaustive account of Lugosi's work in film, radio, theater, vaudeville and television provides an extensive biographical look at the actor. The enormous merchandising industry built around him is also examined.

    All pages are intact, and the cover is intact (including dust cover, if applicable). The spine may show signs of wear. Pages can include limited notes and highlighting, and the copy can include "From the library of" labels.Some of our books may have slightly worn corners, and minor creases to the covers. Please note the cover may sometimes be different to the one shown.

    The road and the cinema both flourished in the twentieth century, as technological advances brought motion pictures to a mass audience and the mass produced automobile opened up the road to the ordinary American. When Jean Baudrillard equated modern American culture with 'space, speed, cinema, technology' he could just as easily have added that the road movie is its supreme emblem.The contributors explore how the road movie has confronted and represented issues of nationhood, sexuality, gender, class and race. They map the generic terrain of the road movie, trace its evolution on American television as well as on the big screen from the 1930s through the 1980s, and, finally, consider road movies that go off the road, departing from the US landscape or travelling on the margins of contemporary American culture.Movies discussed include: * Road classics such as It Happened One Night, The Grapes of Wrath, The Wizard of Oz and the Bob Hope-Bing Crosby Road to films* 1960's reworkings of the road movie in Easy Rider and Bonnie and Clyde* Russ Meyer's road movies: from Motorpsycho! to Faster Pussycat! Kill! Kill!* Contemporary hits such as Paris Texas, Rain Man, Natural Born Killers and Thelma and Louise* The road movie, Australian style, from Mad Max to the Adventures of Priscilla, Queen of the Desert.

    The book, also known as Auction of Souls, was first published in 1918, shortly after Aurora Mardiganian's arrival in the United States. It was subsequently filmed in 1919, and both the book and the movie created a considerable stir. The book has long been out of print, and the screen adaptation is one of the most sought-after of "lost" films. Ravished Armenia and the Story of Aurora Mardiganian reprints the original book in its entirety the first time it has been available since the 1930s and also reprints original documentation on the film. The introductory essay provides a brief historical overview, documents films dealing with the subject, and provides a full account of the making of the film and its reception. Slide is the first and only film historian to have tracked down Aurora Mardiganian, who died in 1994. He presents an extraordinary portrait of a young woman, terrorized in her own country, brought to the U.S. and mercilessly exploited by the film industry.

    The latter charts the film-maker's four-year struggle to get the film made.

    (Oliver James, Contact Magazine) A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire ofBach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series.

    The book covers stars from early movies, such as Asta, Toto, and Rin Tin Tin, to Boomer television favorites such as Mr. Ed, Silver, and Lassie, up to more contemporary stars including Benji, Beethoven, Babe, and more. 100 photos.

    12,500 first printing.

    Films by, featuring or inspired by: William S Burroughs, Allen Ginsberg, Jack Kerouac, Charles Bukowski, Brion Gysin, Anthony Balch, Ron Rice, John Cassavetes, Andy Warhol, Bob Dylan, Klaus Maeck, Gus van Sant, and many others. Including interviews with writers such as Allen Ginsberg, directors such as Robert Frank and actors such as Taylor Mead. Plus detailed examination of key Beat texts and cult classics such as Pull My Daisy, Chappaqua, Towers Open Fire and The Flower Thief; verit

    Peter Cowie's account is based on access to Coppola's archives, and also interviews with him and other relevant people.

    Peter French examines the world of the western, one in which death is annihilation, the culmination of life, and there is nothing else. In that world he finds alternatives to Judeo-Christian traditions that dominate our ethical theories, alternatives that also attack the views of the most prominent ethicists of the past three centuries. More than just a meditation on the portrayal of the good, the bad, and the ugly on the big screen, French's work identifies an attitude toward life that he claims is one of the most distinctive and enduring elements of American culture.

    There is therefore the possibility for a much greater diversity of uses for video, and for a greater plurality of audio-visual expression.

    

    The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.

    Set in the Idaho farmlands of the 1950s, the film follows eight-year-old Seth through a mythical summer where reality is heightened to the level of an hallucinogenic, quasi-fantasy. The Passion of Darkly Noon is a modern fable; echoing the surrealist style of Ridley's dazzling and innovative debut film. A young man roaming the American countryside, the victim of a savage attack on his religious cult, is rescued by Callie, for whom he develops a dangerous obsession. "Provocative, shocking and disturbing, a true original...a masterpiece." (What's On)

    

    The story of two white-collar managers, Chad and Howard, who maliciously plot to jointly romance the lonely, deaf, beautiful office temp Christine before simultaneously dumping her, is cool and compelling in its depiction of the worst sorts of emotional abuse. What begins as a cat-and-mouse game of one-upmanship quickly escalates into full-scale psychological warfare. Only too late does this 'frat boy' prank reveal itself as deadly serious, with a struggle between the two men at the heart of the battle. The woman is only a means to an end, a pawn easily captured and tossed aside in a dark, wicked duel for corporate ascension.

    Film theorist D. N. Rodowick fills this gap by presenting the first comprehensive study, in any language, of Deleuze’s work on film and images. Placing Deleuze’s two books on cinema—The Movement-Image and The Time-Image—in the context of French cultural theory of the 1960s and 1970s, Rodowick examines the logic of Deleuze’s theories and the relationship of these theories to his influential philosophy of difference.Rodowick illuminates the connections between Deleuze’s writings on visual and scientific texts and describes the formal logic of his theory of images and signs. Revealing how Deleuzian views on film speak to the broader network of philosophical problems addressed in Deleuze’s other books—including his influential work with Félix Guattari—Rodowick shows not only how Deleuze modifies the dominant traditions of film theory, but also how the study of cinema is central to the project of modern philosophy.

    A thoroughly researched examination of the life of the renowned director not only looks at the great volume of Lang's work, but also at his personal life, including the question of whether or not he murdered his first wife.

    The soundtrack albums of these and other classic movies are among the most prized collectibles today - recordings that summon up the secret agents, starlets, glamour and exotica of the past and set the mood for the "cool modern" lounge scene of today. The book showcases art, in brilliant full color, from nearly 300 of the greatest soundtrack covers, including many sought-after items by film music legends such as John Barry, Jerry Goldsmith, Henry Mancini, Ennio Morricone and Lalo Schifrin. It is a must for record collectors, graphic designers and anyone into the new easy listening scene.

    In addition to entries on actors, directors, writers, technicians, entries on horror-themed films and television series, the book provides essays on classic horror characters like Frankenstein and Dracula, and on recurrent situations like decapitation and body-snatching.

    of photos, many in color.

    Challenges the conventional wisdom that violent horror films can only degrade women and incite violence.

    He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.

    The author made her directorial debut on the film of the same name won the Camera d'Or prize at the 1996 Cannes Film festival.

    Presents a guide to movies made outside of the Hollywood system, including films by the Coen brothers, John Sayles, and Krzysztof Kieslowski.

    It explores director Philip Kaufman's subversive adventurism, his mastery of cinematic form, and the way in which the film combines the mythology of the Western with counter-cultural concerns.

    The Essential Jackie Chan Sourcebook reveals everything you want to know about the dare-devil dynamo who is part Buster Keaton, part Bruce Lee, and a truly unique performer in his own right -- and whose devoted cult following is exploding into international stardom. With straight talk about his rise from Hong Kong's hometown hero to Hollywood megastar, get to know the professional and persoanl Jackie Chan through • His revealing biography • A complete filmography -- from his early roles to the recent star vehicles Operation Condor and Thunderbolt • His peak performance workout • His "Catalogue of Pain" -- from concussions to broken bones -- and his many stunt work near misses • His awards and accolades • Up-to-the-minute internet news and fan club information • And much more! Forget Stallone, Schwarzenegger and Van Damme. There's only one Jackie Chan -- and only one complete guide to the ultimate action film phenomenon!

    Focusing on representations of multicultural themes involving Euro- and Afro-Brazilians, other immigrants, and indigenous peoples in the rich tradition of Brazilian fictional feature film, Robert Stam puts Brazilian culture at the center of a wide-ranging analysis of race, representation, history, and film. Drawing parallels between the histories of colonialism, slavery, and immigration in Brazil and the United States, he also contends that questions of ethnic and racial representations are best viewed within the larger context of a comparative analysis of racially plural societies.Stam examines the broad historical and cultural links that connect Brazil and the United States before considering multicultural imagery in Brazilian film as it has changed from the silent era to the present. His analysis moves through the comic chanchadas of the 1930s and 1940s, to the Hollywood-style films from Sao Paulo in the 1950s, and the diverse phases of Cinema Novo beginning in the 1960s. He explores a wealth of subjects, including the submerged "blackness" of Carmen Miranda, the anti-racist agenda of Orson Welles’s never-released Brazilian film It’s All True, the international background behind Black Orpheus, the career of Grande Otelo (Brazil’s greatest black film star), the allegorical "cannibalistic" films like How Tasty Was My Frenchman, and "indigenous media"—the attempt by Brazilian "indians" to use camcorders and VCRs for their own cultural and political purposes. Tropical Multiculturalism is simultaneously a history of Brazilian cinema from the standpoint of race, a history of Brazil itself through its cinematic representations, a comparative study of racial formations in Brazil and the United States, and a theorized analysis of racialized representations.

    Trained as an artist, Greenaway began his career in cinema as an editor of government-sponsored films. He began to attract critical attention in 1980 with his epic mock-documentary The Falls, the first British film to be named Best Film by the British Film Institute in 30 years. Since then he has created the wittily elegant The Draughtsman's Contract, the strikingly unconventional Shakespearean adaptation Prospero's Books, and the disturbingly violent The Cook, The Thief, His Wife and Her Lover. In-depth analyses of these and several other of Greenaway's most important works are examined within the context of the director's biography and artistic goals. This edition also includes stills from Greenaway's feature films, as well as his own drawings.

    Featuring scores of entries and 250 photos and illustrations. This outstanding A-Z reference offers rare treasures for all Charlie Chaplin fans, from seldom-seen film footage to a wealth of previously unpublished anecdotes. As well as intriguing esoterica, the Encyclopedia presents a full account, with detailed credits, of all of Chaplin's films, from the earliest silents to ``The Great Dictator,'' ``Limelight,'' and other classics. There is also in-depth information on Chaplin's ``lost'' movies, newsreels, stage work, collaborators, and much, much more. Glenn Mitchell is an internationally recognized authority on early 20th-century cinema comedy. His Laurel and Hardy Encyclopedia was hailed by Choice as: ``Almost everything anyone could want to know...insightful, succinct....highly recommended''; in praise of his Marx Brothers Encyclopedia, Parade observed: ``Not many reference books make you laugh out loud, but [this book] does just that, page after page.'' 256 pp 7 x 10 250 b/w photos & illustrations

    When he died, cinema was diminished, for there was no one to take his place. War had shown him man's capacity for cruelty and violence, and so enabled him to play evil characters in such a way that the audience knew that they too could be capable of such deeds.This book provides an intimate glimpse into the life of Lee Marvin from the woman who knew him best. The book celebrates their life together - not only the films but also the fishing exploits - and dramatizes the details of the palimony suit brought against Lee by an ex-lover, a case that made legal history. It also contains Lee Marvin's journals from the batttlefields of World War II, as well as an account of the errors and accidents that led to his premature death. Written with affection and respect, Pamela Marvin's biography paints a more rounded portrait of Lee Marvin than we have had before.

    With a new revision every year, it's the most up-to-date and complete handbook of its kind! From box office smashes to cult classics to forgettable bombs, this guide has it all.

    Each film included in this guide is accompanied by a concise synopsis of the film, brief review notes, MPAA rating and information on the distributor, year of release, running time, and the names of the director and principle cast members.

    The author discovered the negatives in a Yonkers processing lab, and the pictures show Monroe as a starlet; reading from a screenplay; turning a cartwheel in her yard; and at dinner with celebrities. Whatever she does, Marilyn is luminescent. 144 pages, 80 b/w illus., 8 1/2

    actress Gillian Anderson) is the earth goddess of the paranormal--and an Internet pinup girl. Readers will discover the actress--and the character behind the actress-in this unauthorized tell-all.

    Landmark buildings such as the Paramount Theater and the Planetarium, and notable people including Lucky Luciano and Ella Fitzgerald--as well as ordinary people, including recent immigrants at Ellis Island--populate the landscape of Samuel Fuller's New York City. The introduction to the collection meanders nostalgically through a lost era that nonetheless resonates through the city today. Fuller was an acclaimed early American filmmaker, and this collection of his still images makes it clear that he was an accomplished photographer as well.